Autor: Borowiecka, Renata - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Veni Creator Pawła Łukaszewskiego — w kręgu inspiracji religijnych i narodowych
Paweł Łukaszewski’s Veni Creator — in the circle of religious and national inspirations
Autorzy:: Borowiecka, Renata
Powiązania:: https://bibliotekanauki.pl/articles/521881.pdf
Data publikacji:: 2016
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:: Paweł Łukaszewski
Polish sacral music
Christian tradition
Veni Creator hymn
Opis:: Paweł Łukaszewski is considered to be one of the most interesting composers of contemporary sacral music, and his work raises great interest both in Poland and abroad. His vocal and instrumental compositions, as well as choir a cappella pieces make a significant share of his extensive achievements. They have deeply rooted into the Christian tradition and religion. The subject matter of his compositions focuses on the main concepts and ideas in the teaching of the Church, which is exemplified in the composition Veni Creator, among others. The piece was written as a result of an external inspiration (a commission from Akademie Klausenhof as a part of a Polish-German Project “45/05”) and based on one of the most popular Latin hymns. Apart from introducing the original version of the hymn, the author used the text in German and quoted the words of John Paul II in Polish. Thus, the Holy Spirit was addressed not only by all the faithful, but also by the two specific nations. Moreover, Łukaszewski emphasised the aspect of both nationalities with the use of specific musical strategies (two choirs, allusions to and quotations from Bach and Chopin). The composer’s intention — reuniting of the two nations through music and languages, as well as by employing Polish and German performers — becomes fully comprehensible in the circumstances of this particular commission, i.e. the 60th anniversary of the end of the Second World War. Therefore, the composition may be considered — quoting the words of the Polish Pope — as a “gesture of peace” offered through music.
Źródło:: Aspekty Muzyki; 2016, 6; 25-42
2082-6044
Pojawia się w:: Aspekty Muzyki
Dostawca treści:: Biblioteka Nauki

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Tytuł:: Stabat Mater Zbigniewa Bujarskiego w kontekście tradycji gatunku
Zbigniew Bujarski’s Stabat Mater in the context of the genre’s tradition
Autorzy:: Borowiecka, Renata
Powiązania:: https://bibliotekanauki.pl/articles/521962.pdf
Data publikacji:: 2014
Wydawca:: Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
Tematy:: Zbigniew Bujarski
Polish sacral music
Stabat Mater
Christian tradition
Opis:: The Christian religion, since the beginning of its times focuses on contemplating the circum-stances of Christ’s death. The scene of Mater dolorosa found its literary expression in the words of a medieval poem Stabat Mater dolorosa. The text became part of the Church liturgy as a sequence and hymn and distinctly entered the music art world. Through compositions, the authors passed on both the creed of Christian faith as well as personal experiences related with the search for the purpose of life and death in the face of a tragic situation. Bujarski’s Stabat Mater was composed following an “external inspiration” (a commission), but it was preceded by a profound “internal inspiration”. The author wrote the composition to the Polish philological translation of the sequence, because he wanted his work to be a very personal statement as close as possible to his deepest feelings. In Stabat Mater, the composer refers to an oratorio and cantata genre creating a choir and orchestra composition. The relations between choir and orchestra set in the history of interpretations are reversed in Bujarski’s composition, i.e. instru-mental music seems to be in the foreground, and the vocal parts only bring further clarification of semantic contents. The author captured the scene with Mater Dolorosa as if in the frames of a paint-ing: within one cohesive whole he provided the course of his work with a three-part layout with re-prise features. Listening closely to Stabat Mater it is impossible not to get the impression that music carries with it quasi-painting features, playing out between the darkness of the Golgotha’s drama and the light of hope coming from the Resurrected Jesus. Colour (an essential feature of Bujarski’s music) and space-time are often shaped in contrast with each other, as if in a chiaro-scuro effect. Bujarski in his “end-of-the-century” work expressed the entire complexity of time in which he lives (fear, tragedy), but he also confirmed his Christian attitude which he represented from the very beginning of his creative path (he pointed to hope and love). Stabat Mater constitutes also a fervent prayer full of humility and trust. It seems as well that in Stabat Mater, through the tragedy of God-man crucified for man’s misdeeds, Bujarski expressed a man of his generation. By referring to the great sacral tradition and through a highly individual musical interpretation, the composer once again discovered “veiled and lost values” and set out the right path for man, leading towards hope, towards the highest Truth.
Źródło:: Aspekty Muzyki; 2014, 4; 11-29
2082-6044
Pojawia się w:: Aspekty Muzyki
Dostawca treści:: Biblioteka Nauki

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