„Łzy lejąca” w arcydziełach muzyki polskiej XX wieku

Author(s): Beata Bolesławska-Lewandowska / Language(s): Polish Issue: 1/2021

The theme of the sorrowful mother has been present in music for centuries. The medieval sequence Stabat mater dolorosa brought many excellent interpretations. As far as the music of Polish composers in the 20th century is concerned, the first name to be mentioned is Karol Szymanowski and his masterpiece: Stabat Mater, Op. 53 (1926). This work, using a text in Polish and referring to folklore, set one direction for the interpretation of the theme of the sorrowful mother in the Polish music of the last century. It was continued by Andrzej Panufnik in his touching interpretation of Gorzkie żale in the suite Hommage à Chopin for voice and piano (1949), and particularly Henryk Mikołaj Górecki in his Symphony of Sorrowful Songs (1976). The second line is marked by compositions referring to the Latin tradition, with no clear references to Polish themes – such as Stabat Mater by Roman Padlewski (1939) and Stabat Mater by Krzysztof Penderecki (1962). The article outlines both lines of interpretation of the “Mother weeping” motif in the works of Polish composers of the 20th century on the example of the above-mentioned masterpieces of Polish musical culture of the last century.

„Nasze pokolenie tamagotchi” - obraz dorosłości w polskich utworach rapowych

Author(s): Martyna Pryszmont / Language(s): Polish Issue: 2/2020

Hip-Hop culture is an interesting learning source for people who come into contact with its works. It is up-to-date, living, dynamic and its characteristic feature is that it refers to the daily lives of its creators. In her presentation, the author will focus on rap music which conveys many relevant descriptions of adult life in the modern world. Rap is both, music and poetry (Kukłowicz 2014), and rapping is the form of rhythmic speaking or reciting rhyming words with specific accompaniment (or without music). Rappers address the problems of daily life by combining the content and the so-called flow, that is rhythm, rhyme and rap (Miszczyński 2015). The author is interested in rap (hip-hop) songs as the important pop culture texts which definitely have some andragogical potential. They are the examples of creative activity of adults as the texts refer directly to the adulthood. In her analysis, the author focused on the image of adulthood presented in the selected Polish rap songs (see Węcławek, Flint, Kleyff, Cała, Jaczyński 2014). The main research problem focuses on the image of adulthood that emerges from the selected rap works. The author also wonders what the potential of rap works for adults is. Such analysis seems particularly interesting and valuable in the context of reflections over the adult learning environments. To study the problem, the author used document analysis of the selected rap works. The results show that rappers present a critical diagnosis of the daily life of Poles. They comment the reality by referring to their individual experiences and the experiences of people in their reference groups or communities they associate with. The image of adulthood is a mosaic of these different experiences. They also point to the learning environments of adults who make efforts to build the worlds to live in.

„Pokolenie 33” na przełomie tysiącleci. Między sonoryzmem, nowym romantyzmem i postmodernizmem

Author(s): Leszek Polony / Language(s): Polish Issue: 3/2013

“The generation of 33” in the Polish music of the turn of the two millennia was born as an artistic entity in the wake of the Polish October 1956. It is inseparable from the term “the Polish compositional school” and from the sonorist universe of aggressive clusters, noise, unconventional effects of sound. This universe of new tonality all but overthrew its avant-garde predecessor: abstract and constructivist dodecaphonic serialism. Yet it only lasted for little more than a decade. Its evolution was marked by a gradual retreat from radicalism of sound. The breakthrough was heralded, in Górecki, by his Ad Matrem as early as in 1971, which ushered the composer into his phase of sacred music. For Penderecki, the same can be said of his Awakening of Jacob (1974) not only because of its symbolic message but also due to symptoms of reverting to specific procesual narrative, based on melodic-harmonic evolution. For Kilar, born in 1932, his Krzesany (1974) brought a renaissance of vital folklorism in a modal-sonorist harmonic medium. Still, the true breakthrough happened in the memorable years 1976-1977 with Górecki’s Third Symphony, Penderecki’s First Violin Concerto, Kilar’s Kościelec 1909, Bujarski’s Musica domestica; these compositions have been since hailed by music criticism and the later monographer of the trend, Paweł Strzelecki, as representative for the merging “New Romanticism.” The breakthrough coincided precisely with the advent of a new generation of composers, subsequently termed “the Stalowa Wola generation” or the “Generation of 51.” And this is how this remarkable association and alliance of the two generations came to be.It seems quite reasonable – from the perspective of almost forty years now – to discuss the validity and the legitimacy of the term “New Romanticism” as a trend in the music of the turn of the millennia, American or European or any other as well as Polish. It must be remembered that this would constitute a third “new romanticism” since the Neoromanticism of the late 19 th century and the fin-de-siècle , the later Liszt and Wagner, Hugo Wolf, Richard Strauss and Gustav Mahler. It is worthwhile to remember, too, the significant essay by Konstanty Regamey on Karol Szymanowski of 1938. Regamey diagnosed “a modernist romanticism” not only in the middle oeuvre of the composer, but also in his later music, that of his so-called “national” period. He saw its essence in Szymanowski’s general aesthetic position: in the “poetic nature” and the subjective emotionality of his music, in the composer’s conviction of the supra-historicality of art, itself a metaphysical “sublimation of message expressed.” Regamey held that Szymanowski’s Stabat Mater as a quintessence of this understanding of “New Romanticism.” The term itself of “New Romanticism” obviously carries the risk of a narrow interpretation of music in neostylistic “retro” aesthetics. The fundamental question arises of the relationship between New Romanticism and Postmodernism. Criticism that accompanied New Romanticism was first dominated by a contrast between the two tendencies and a very harsh critique of the latter. Postmodernism was accused of relativism, manipulation of tradition, supremacy of shallow aesthetic play over striving towards truth. A new outlook on this appeared in younger authors in the nineties.Jann Pasler, the author of the Postmodernism entry in The New Grove Dictionary of Music and Musicians differentiates between three basic kinds of Postmodernism: 1. a postmodernism of connection and interpenetration, 2. a postmodernism of resistance, and 3. a postmodernism of reaction. The last of these denotes a return to the previously-rejected categories (tonality, euphony, traditional narrativity, and to fundamental qualities beyond music such as religious spirituality or mysticism). This return is characteristic in its serio attitude (cf. N. Szwab, 2013).In this perspective, the primary antagonism of New Romanticism and Postmodernism seems to dissolve in the broader context of postmodernity, the general spiritual orientation of our time. The cyclical recurrence of romanticism in the highly antiromantic 20 th century are a significant phenomenon. This aesthetics not only does not fade away in the composers seen as 20 th -century posthumous children of romanticism such as Richard Strauss, Sergei Rachmaninoff or Jean Sibelius; it is reborn or indeed it flourishes in ever-novel medium of music.

„Radio na drucie”. Megafonizacja audiosfery Warszawy roku 1945 w świetle ówczesnych źródeł

Author(s): Kamila Staśko-Mazur / Language(s): Polish Issue: 2/2017

„Samuel Marckfelner bin ich genandt“

Author(s): Janka Petőczová / Language(s): Slovak Issue: 1/2011

Th e aim of the study is to analyse and evaluate the newly-discovered poem Samuel Marckfelner bin ich genandt, written by the Levoča organist and composer Samuel Marckfelner (1621 – 1674). Th e autobiographical manuscript poem occurs on the parchment cover of the front board of the tablature book sign. SK-Le 5A (13994) in the historical library of the Evangelical (Lutheran) Church community in Levoča. Th e poem is unique from the point of view of musical history (researching the composer’s biography), musical theory, organology, and also literary historiography investigating the multilingual culture of Spiš county in the 17th century.

„Słuchanie medium. Doświadczenia akuzmatyczne w kulturze współczesnej”. Sprawozdanie z konferencji

Author(s): Tomasz Misiak,Marcin Olejniczak / Language(s): Polish Issue: 2/2017

„Stil psaltic” sau „ifos psaltic?”

Author(s): Adrian Sîrbu / Language(s): Romanian Issue: 24/2021

Termenul stil este folosit în filosofia culturii, în estetică, teoria artei și critica de artă, în limbajele literare, în artele plastice și monumentale, în modul de viață și de comportament al oamenilor pentru caracterizarea unor culturi, epoci, individualități creatoare sau opere, așa cum aflăm din dicționarele de filosofie. Dacă în limba greacă remarcăm prezența ambilor termeni, respectiv stil și ifos, limba română face uz doar de primul, în timp ce ifos apare folosit cu înțelesuri cu totul diferite, o dată cu trecerea timpului. Spre deosebire de sensurile din limba greacă, în dicționarele actuale ale limbii române cuvântul ifos are un sens mai mult peiorativ, suferind de-a lungul timpului schimbări semantice. Cu toate acestea, se pare că vechiul înțeles al termenului ifos dezvăluie valențe mult mai profunde și mai bogate decât termenul stil și ne ajută să pătrundem cu mai multă înțelegere condițiile unei autentice interpretări muzical-spirituale, în „duhul potrivit”.

„Strasznie lubię cię, piosenko”. Szkice o tekstach Wojciecha Młynarskiego. Tom jubileuszowy dedykowany Profesor Barbarze Kudrze

Author(s): / Language(s): Polish

The volume comprises texts analysing the oeuvre of one of the greatest Polish song poets, Wojciech Młynarski. Although the majority of the 22 papers are scientific reviews, there are also some popular science texts. The monograph consists of an introduction, the profile of Professor Barbara Kudra, the bibliography of her works. The five chapters dedicated to the work of Wojciech Młynarski comprise diverse texts written from the perspective of language, literature and cultural studies.

„Surconventionalism” in the interpretation of Paweł Szymański and Stanisław Krupowicz

Author(s): Anna Granat-Janki / Language(s): English Issue: 4/2010

Surconventionalism is a term invented by Paweł Szymański and Stanisław Krupowicz in 1984, aiming to an artistic method, a technique (coming, of course, from surrealism). Paweł Szymański has used it since 1978 (Partita II for orchestra), and Stanisław Krupowicz since 1981 (Tempo 72 for amplified harpsichord and strings, String Quartet No. 2). Some analyses (Szymański: Partita III, Partita IV, quasi una sinfonietta, Recalling a Serenade and Krupowicz: Tako rzecze Bosch, Tempo 72, Wariacje pożegnalne na temat Mozarta, Fin de siècle) will show the differences of understanding surconventionalism. Stanisław Krupowicz believes that this method consists of the confrontation of several stylistic conventions and creation of a certain context from these conventions, which could not have come into being in any so far existing style. Surconventionalism is, therefore, according to him, “an art of composing contexts”. Paweł Szymański, however, thinks that surconventional method relies on the transformation of “basic structure”, also called by him “deep structure”. This leads to two-level composing of music.Paweł Szymańsk i dismantles, and then distorts musical structures and conventions, while Stanisław Krupowicz chooses to make unreal musical reality by distortion and destruction and surprising juxtaposition its elements as this manner is closer to him.

„Talenta przyjemne” Izabeli Marii z Lubomirskich Sanguszkowej (1808–1890)

Author(s): Irena Bieńkowska / Language(s): Polish Issue: 1/2022

Izabela Maria Sanguszko, née Lubomirska, was a daughter of Henryk Lubomirski (1777–1850) and his wife Teresa, née Czartoryska (1785–1868). Izabela’s father had been brought up by a rich distant relative, Elżbieta Lubomirska, née Czartoryska (1736–1816), one of the leading patronesses of art around the turn of the nineteenth century. He was known for his particular fondness of music, and he passed on his interest in this feld, particularly in opera, to his daughter. Izabela was an excellent singer, who studied in Vienna with Italian masters: the famous baritone Antonio Tamburini (1800–76), and subsequently the composer Stefano Pavesi (1779–1850). She also played the piano. In letters sent to her father, she frequently commented on musical life. From publishers in Vienna, Paris and Milan, she would also purchase selections (transcriptions for voice and piano or for piano four hands) from works she had heard (mainly operas). Some of those purchases have been preserved in the National Ossoliński Institute in Wrocław (from Izabela’s maiden years) and the Municipal Public Library in Tarnów (items belonging to Izabela, her husband and their children, hitherto unknown to scholars). In Przeworsk, where Izabela grew up, she had at her disposal a vast music library comprising nearly 1400 items, which are fully inventoried. Izabela did not give up music-making after getting married. She kept a diary, preserved to this day, containing 32 compositions, many of them not known from other sources. She collected sheet music and ensured her children received a musical education. She also supported the work of composers. The musical-artistic activity created by Izabela in Kraków and Gumniska represents an important aspect of nineteenth-century musical culture in the territories of partitioned Poland.

„Tiolemo su’el fagoto” i piosneczki Wojciecha Bogusławskiego. o weneckim pierwowzorze warszawskiej „Wenecjanki”

Author(s): Jakub Chachulski / Language(s): Polish Issue: 1/2021

A melody fashionable in Warsaw in the 1790s, known as ‘The Venetienne’, was popularised thanks to it being used to set the words of ‘Old Dominic’s Ditty’, included in Wojciech Bogusławski’s Polish adaptation of Louis-Sébastien Mercier’s ‘La Brouette du vinaigrier’. Hitherto, this tune has only been known from a much later notation by Oskar Kolberg, and from an entry in the diary of Gustav Calixt Biron von Curland (discovered by Zbigniew Raszewski). We now know that the melody originally derives from the Venetian ‘canzone da battello’ ‘Tiolemo su’el fagoto’. This identification allows me to verify its Polish sources and suggest a reconstruction of the original form of ‘Old Dominic’s Ditty’. In this context, I also note the close similarity of the melodies of two other ‘ditties’ by Bogusławski, as well as the presence of elements borrowed from ‘The Venetienne’ and stylistically related operatic melodies in one of those two, namely, Bardos’s aria from ‘Cracovians and Highlanders’, which suggests that this melody may have been composed by Bogusławski himself.

„Tylko błądzenie...” Pendereckiego droga twórcza

Author(s): Mieczysław Tomaszewski / Language(s): Polish Issue: 8/9/2016

„Verwandlung der Welt“? Die Musikkultur des Ostseeraums in der Sattelzeit. Hrsg. von Martin Loeser

Author(s): Hartmut Möller / Language(s): German Issue: 2/2018

Review of: „Verwandlung der Welt“? Die Musikkultur des Ostseeraums in der Sattelzeit. Hrsg. von Martin Loeser. (Greifswalder Beiträge zur Musikwissenschaft, Bd. 21.) Frank & Timme. Berlin 2016. 216 S. ISBN 978-3-7329-0140-1. (€ 34,80.). Reviewed by Hartmut Möller.

„W reakcji na obraz…”. Wokół muzyki filmowej Józefa Rychlika

Author(s): Agnieszka Draus / Language(s): Polish Issue: 15/2019

Józef Rychlik, the Cracovian composer born in 1946, music theorist, teacher, student of Bogusław Schaeffer and former trainee at the famous IRCAM in Paris, also became the protagonist of Jerzy Ridan’s film about him. Ridan, a screenwriter and director from Kraków, an outstanding documentarist (with over 60 documentaries to his credit, which have won prizes at festivals around the world) decided in 1992 to create a film about his friend the composer. He wanted to show both his multidimensional nature and – perhaps most importantly – Rychlik’s work, both his independent compositions as well as his film music. Although the composer’s oeuvre up to 2019 includes over 50 compositions (vocal, vocal-instrumental, instrumental; solo, chamber and symphonic; for traditional instruments and electroacoustic ones, works following the discipline of notation and traditional form, as well as graphic compositions and open forms), an equally substantial portion of his music constitutes work dear to Rychlik’s heart in the service of a particular performance: a vernissage, choreographic arrangement, theatre and film. The composer’s specific personality traits, such as sensitivity to his surrounding reality, his capacity for observation and immediate reflection, in a way predestined him to be the writer of music for 34 movies (including two feature films, 21 documentaries, 9 animations, one choreographic musical, one autobiographical) and 19 theatre plays. The text is an attempt to confront the composer’s self-retlection, often of a retrospective, nostalgie nature, with the interpretation of a detached researcher proposing his own „seeing and hearing” of Rychlik’s music.

„Witold Lutosławski. Correspondence with His Western Publishers and Managers. 1966–1994”, red. Zbigniew Skowron, T. 1–2, Kraków 2018

Author(s): Małgorzata Sieradz / Language(s): Polish Issue: 4/2021

Book Review of „Witold Lutosławski. Correspondence with His Western Publishers and Managers. 1966–1994”, ed. Zbigniew Skowron, vol. 1–2, Kraków 2018

„Има прекрасни млади хора, които могат да бъдат радостното бъдеще на нашата България!“

Със световната оперна прима Красимира Стоянова разговаря Юлияна Караатанасова

Author(s): Yuliana Karaatanasova / Language(s): Bulgarian Issue: 11-12/2020

Following her first masterclass with the students from the Vocal Faculty of NAM “Prof. Pancho Vladigerov”, 11th – 20th November 2019, Kammersängerin Krassimira Stoyanova gave a candid interview on the art of music and the contemporary man of arts, on her professional, pedagogical, humanistic foundations, on the future of the young Bulgarian talents and the necessity to change the individual way of thinking. She also spoke on the national policy in the field of culture; on the self-esteem in the dynamically changing world of competition and power play, on the faith in beauty, nature, Mercy and Love. We present you a summary of this interview’s highlights. Culture, art, and education – are the foundations of every society, the vitality of the spirit and the base for building the future of our children. Music is a conduit of the divine, one of the most direct paths to God. Everything can be included in it – gratitude, love and joy, sorrow, prayer, and fear – whatever we want, devotion being the ultimate condition when creating it! To devote means to deny oneself, to sacrifice, which is a very difficult thing to do, isn’t it? If a person can learn to give, to love unconditionally, then many things would surely become clear to him/her, the person would have the strength to do much more. In my opinion this is being learned throughout life. As a teacher, I always try to encourage my “children”. I encourage them to develop broadly, seeking the vastness of thought, using the discipline of the consciousness and the love of the heart. The coaching of a singer is strictly individual. It is especially important to fully assess their personality, individual abilities and characteristics. This includes how quickly a person learns and how they react in the process of teaching, to what extent they are ready to devote themselves to the process. Assessing their intellectual level, voice and physical abilities, the ability to physically use the body in the contents of plasticity of movements, and the ability to transform in relation to acting are things to seriously focus on. The student’s musicality, general knowledge, desire for development and awareness, even patience – are of great importance. Another very important factor is each person’s unique pace of development which we are obliged to comply with. Repertoire selection must fully correspond to the young singer’s development level. In my opinion, the student’s ability to analyze and interpret it should be stimulated, as well as support the so-called three-dimensional elaboration of an aria or a part, i.e., musically, theatrically, scenically and choreographically. When coaching, I always try to connect the student’s personal life experience with their current ability to apply it to their work according to their interpretation abilities. I have seen and heard wonderful and talented young singers in our NAM! Intelligent, eager to learn, to experience new feelings. But why are many of them not ready to strive? There is a very strange lethargy in many of them – is the system the main reason for that, does the lack of future opportunities for realization from the very start diminish their resilience and stops their aspiration for the future? I do not know. We have wonderful voices, but unfortunately we do not have a school. There is no state policy in support of the musical and opera art in our country. If our state decides to make the future of our young people a priority, I would not need to answer these questions. I wish best of health to the students from the vocal faculty of NAM “Prof. Pancho Vladigerov” and all young Bulgarian singers and hope they wake up, the world does not wait for anybody!

„Любезни Владимире...“. писма на Панчо Владигеров до Владимир Стоянов

Author(s): Valeriya Yordanova,Reneta Konstantinova / Language(s): Bulgarian Issue: 3/2020

The paper presents letters by great Bulgarian composer Prof. Pancho Vladigerov to music teacher Vladimir Stoianov. The correspondence (30 letters sent in the period 1938–1949) is kept at Ruse Regional Library. Along with important to the composer events of his oeuvre, daily challenges of life are commented. The letters bespeak their true friendship, enriching the figure of composer Pancho Vladigerov, portraying at the same time lesser known Vladimir Stoianov, professionally educated and versatile musician, who taught the young and actively participated in the development of contemporary Bulgarian culture in that politically complicated period.

„Нашият труд е песента“

(народната музика в българските радиопрограми от първите години на социализма и нейната „мека власт“)

Author(s): Dimov Ventsislav / Language(s): Bulgarian Issue: 3/2018

peoples music, state socialism, people's democracy, Bulgarian radio, soft powerThe article describes the main power concepts and practices, related to music in Bulgarian radio during the first years of socialist Bulgaria – the Fatherland front period (1944-1947), when the authorities start to take possession of state radio, under the guise of “people’s democracy”; and the totalitarian period (1948-1956) – a period of “classical Stalinism”, a time of the completed control of radio and media music by the communist power. The focus is on the so called folk music in radio, which turns out to be one of the main conduits of “soft power” in the first years of Bulgarian national socialism. Its presence in the narratives of communist power, its place in radio programs, its main figures and formats, its power uses as “music for the people” and some discourses as “correct” and “incorrect” music, according to authorities, are examined.

„Проповедник“ са гитаром

Author(s): Danko Strahinić / Language(s): Serbian Issue: 1/2012

„Софийски музикални седмици“ – формиране на фестивалния модел

Author(s): Diana Danova-Damyanova / Language(s): Bulgarian Issue: 2/2019

The current text is a new stage in the attempt to expose the pattern of the multi-genre Sofia Music Weeks Festival. Established in the early 1970s, the event has developed various aspects in its history of almost half a century. The creative practices are treated in a more general sense: through following the way of constructing of a concrete, but large-scale festival project from its genesis to different transformations and accumulations, especially typical of its early decades.The focus is on the formation of the festival model as well as on some of its main components. Gradually, Sofia Music Weeks unfolded and blended with other arts (fine arts, cinema, photography) by searching for a variety of non-musical events, not only in their rich sidebars. The changes in the festival model are seen as a process, in their dynamics, corresponding to the dynamics of the socio-political and socio-cultural changes.