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    Wyświetlanie 1-3 z 3
    Tytuł:
    Komandor w operze. Konteksty
    Commander in Opera: Contexts
    Autorzy:
    Jęcz, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/514156.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Commander
    Stone Guest
    Don Juan
    opera
    Don Giovanni
    Wolfgang Amadeus Mozart
    Opis:
    The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags the rogue to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 4(39); 21-38
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Commander in Opera: Contexts
    Autorzy:
    Jęcz, Jadwiga
    Powiązania:
    https://bibliotekanauki.pl/articles/513990.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Commander
    Stone Guest
    Don Juan
    opera
    Don Giovanni
    Wolfgang Amadeus Mozart
    Opis:
    The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags him to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2018, 4(39) Eng; 21-39
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Twórczość Eugeniusza Morawskiego w oczach krytyków i kompozytorów
    Eugeniusz Morawski’s output in the eyes of critics and composers
    Autorzy:
    Łapeta, Oskar
    Powiązania:
    https://bibliotekanauki.pl/articles/514144.pdf
    Data publikacji:
    2015-01-01
    Wydawca:
    Uniwersytet Jagielloński. Koło Naukowe Studentów Muzykologii UJ
    Tematy:
    Eugeniusz Morawski
    critics
    Polish press
    Don Quichotte
    Świtezianka
    Miłość
    Nevermore
    Opis:
    The aim of this study is to present and synthesize the image of Eugeniusz Morawski’s output as presented by the Polish press and Polish composers. Morawski is an unknown composer, absent from the concert programs. His works were performed during composer’s lifetime and caused mixed and extreme reactions from the critics. His first successful concert – performance of now lost symphony-poem Vae victis in Salle Gaveau, Paris, was barely noted in Polish press. The first performance of symphonic poem Don Quichotte in 1912 caused vivid, yet mixed reactions. An important review was written by Aleksander Poliński, who criticized Morawski for being stylistically dependent on Richard Strauss’s style. Other reviews, some of them anonymous, were positive. The composer was praised for his talent and he was predicted to become a huge success in the future. Later on, his works were infrequently performed. In 1925, the symphonic poem Nevermore was performed in Warsaw under direction of Grzegorz Fitelberg. The work was very well received by the critic Karol Stromenger. Yet Morawski’s greatest success was his ballet The maid of Świteź, presented in Warsaw’s Great Theatre in May 1931. In 1933 Morawski received for this work the musical prize from the Ministry of Religious Beliefs and Publick Enlightment, winning the competition with Karol Szymanowski’s Symphony no.4. The event was discussed in great detail by the press. Some of the reviewers praised this work as Morawski’s masterpiece, others criticized it as worthless and clumsily written. The ballet was presented again in 1962 under the direction of Bohdan Wodiczko. A critic and a composer Stefan Kisielewski praised the word for its great orchestral effects and eerie climate. The article also uses extracts of letters of a composer Szymon Laks, essays of Stefan Kisielewski, and unpublished material from Polish Composers Union archive – letters of Grażyna Bacewicz and Włodzimierz Sokorski.
    Źródło:
    Kwartalnik Młodych Muzykologów UJ; 2015, 1(24); 4-23
    2956-4107
    2353-7094
    Pojawia się w:
    Kwartalnik Młodych Muzykologów UJ
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-3 z 3

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