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    Wyświetlanie 1-9 z 9
    Tytuł:
    Aspekty religijne w polskiej muzyce fortepianowej XX i XXI wieku
    Religious aspects of Polish piano music of the 20th and 21st century
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/521922.pdf
    Data publikacji:
    2015
    Wydawca:
    Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku
    Tematy:
    church hymn
    Gregorian chant
    inspiration, intertextuality
    piano concerto
    piano music
    Polish music
    postmodernism
    religious music
    the sacred
    sonata
    suite.
    Opis:
    This article discusses the works for solo piano and for piano and orchestra, in which reli- gious inspiration associated with Christianity was found. The fact that such “sacral” inspiration was pre-sent in piano music may be confirmed by many works of Ferenc Liszt and Olivier Messiaen, to name but a few evident examples. One can also add selected works of Frederic Chopin, not only Scherzo in B minor, op. 20, which includes a citation of the Polish carol “Lulajże, Jezu- niu (“Lullaby, Little Baby Jesus”), but also a number of motifs from other Polish church hymns found in Chopin’s music by Jan Węcowski. There are several categories of works with references to the sacred in the Polish piano music of the 20th and 21st century: works with religious inspiration suggested in their very title or in the musical material, and works with a widely understood religious context, but without any direct references to the sacred. Religious themes can be found in the works for piano and orchestra, for instance by Wojciech Kilar, Paweł Łukaszewski, Bogusław Madey, and Józef Świder. These themes appear in solo works for piano, e.g. by Mirosław Bukowski, Irena Garztecka, Leszek Mateusz Gorecki, Tomasz Kamieniak, Juliusz Łuciuk, Władysława Markiewi- czówna, Witold Rudziński, Marian Sawa, Sebastian Szymanski or Aleksander Tansman. The piano music with religious inspiration written in the 20th and 21st centuries has not yet been the subject of a comprehensive research. However, some authors did point to such motifs, for example Stanisław Będkowski, Bogumiła Mika, Violetta Przech, and Janina Tatarska. Still, they only men- tioned them while writing about other, non-religious issues related to Polish piano music.
    Źródło:
    Aspekty Muzyki; 2015, 5; 27-58
    2082-6044
    Pojawia się w:
    Aspekty Muzyki
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Twórczość fortepianowa Mariana Sawy
    Marian Sawa’s piano music
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/495044.pdf
    Data publikacji:
    2011
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    Marian Sawa
    Mazurka
    Study
    piano music
    carol
    neoclassicism
    sacred music
    folklore
    Opis:
    Marian Sawa (1937-2005), composer, organist, improviser and pedagogue, owes his reputation primarily to his prolific organ output (over 200 works for organ solo, including five concertos), choral music (several dozen compositions) and vocal-instrumental sacred music. Pride of place goes to Droga Krzyżowa (The Way of the Cross), Missa claromontana and works for organ: Witraże (Stained-glass), Ecce lignum crucis and Hymnus in honorem sancti Petri et Pauli. Works for piano are modest in number, less known and rather rarely performed but they are hardly of a marginal character. Marian Sawa’s piano output comprises a dozen or so pieces of diverse genres and styles. The earliest compositions, dating from Sawa’s studies at the State Higher School of Music in Warsaw, include Four Etudes, a cycle of Variations and the Prelude and Fugue, all in the neo-Classical style (1966-67). In the etudes the composer explored several problems, such as the technique of double stops and octaves. The later Toccata (1970) and Stylized Prelude (1975) are, by and large, the continuation of the same style. In the Toccata one can notice the genre’s characteristic features including the motoric drive, a sense of mobility and the repetitiveness of notes (similar effects can be found in toccatas by such composers as Bolesław Woytowicz and Sławomir Czarnecki). Sawa’s most interesting piano works date from the 1980s and 1990s, Scherzino (1983) and Four Mazurkas (1993/94) being the most frequently-performed pieces. Sawa’s output also includes compositions which draw freely on the sonata form: Sonatę Ha-Fis (Sonata B-Fsharp) for keyboard instruments (1995, the title refers to the two opening notes), Sonatina for harpsichord, piano or organ (1995) and arrangements of Polish Christmas carols. One of Sawa’s most spectacular pieces is the Fugue-Bolero for two pianos (1996), which is an arrangement of his earlier, highly popular version for organ. Three idioms can be distinguished in Sawa’s piano music: dance/folk, motoric/toccata and sacred. The first employs the dance forms popular in Polish folk music (mazurek, oberek, krakowiak), the rhythm pattern of the ‘mazur’ and bourdon fifths. The main features of the second idiom are the figurative texture, virtuosity, a sense of mobility and, in the majority of works (including those from the 1990s), references to the neo-Classical style. The sacred idiom manifests itself in the use of quotations from church songs. For example, in the Third Mazurka (1993) it is a quotation from the Polish church song to St Joseph, while the musical material of the Three Elegies (1995) is based on the religious song Ja wiem, w kogo ja wierzę / I know in whom I believe. These works are also renowned for their specific mood of meditation and contemplation, creating an aura of spiritual music. The arrangements of Polish Christmas carols also belong to this group (Four Christmas Carols for piano / four hands, 2003; Kolędowe granie / Playing the carols, 2004).
    Źródło:
    Seminare. Poszukiwania naukowe; 2011, 29; 317-335
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Utwory o inspiracji religijnej Wojciecha Łukaszewskiego w świetle duchowej postawy kompozytora
    Religious art of Wojciech Łukaszewski in the context of the composers spiritual attitude
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/496619.pdf
    Data publikacji:
    2019-06-30
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    Łukaszewski
    Częstochowa
    technika kompozytorska
    muzyka religijna
    muzyka chóralna
    sacrum
    duchowość
    composer technique
    religious music
    choral music
    spirituality
    Opis:
    The article discusses the religious creativity of Wojciech Łukaszewski. He composed three works for a large ensembles and five religious songs for solo voice and solo voice with piano or organ. These works have religious connotations. Confessioni were inspired by the Confessions of Saint Augustine. In De morte Boleslaui Carmina, the composer repeatedly quotes the Polish song Bogurodzica. In works on religious subjects, he used the texts of Roman Brandstaetter, Gallus Anonymus and Roger Degrelle and three Polish carols. The article is the first attempt to explore this topic. An important material helpful in the analysis of the composer’s compositions and spirituality were his letters to Maria Patrzyk – his bride.
    W artykule omówiono utwory o tematyce religijnej Wojciecha Łukaszewskiego. Skomponował on trzy dzieła przeznaczone na dużą obsadę wykonawczą oraz pięć pieśni religijnych na głos solo i głos z fortepianem lub organami. Utwory te zawierają wyraźne konotacje religijne. Confessioni były inspirowane lekturą Wyznań św. Augustyna, w De morte Boleslaui Carmina kompozytor przywołuje motywy pieśni Bogurodzica. W utworach o tematyce religijnej wykorzystał teksty Romana Brandstaettera, Galla Anonima, ks. Rogera Degrelle’a oraz trzy polskie kolędy. Artykuł jest pierwszą próbą spenetrowania tego tematu. Ważnym materiałem pomocnym w analizie utworów i duchowości kompozytora były jego listy do narzeczonej, Marii Patrzyk.
    Źródło:
    Seminare. Poszukiwania naukowe; 2019, 40, 2; 215-230
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wprowadzenie w problematykę techniki gry i środków techniki kompozytorskiej w etiudach fortepianowych kompozytorów polskich w latach 1916-2006
    An introduction to the problems of performance technique and compositional devices in piano etudes by polish composers (1916-2006)
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/495574.pdf
    Data publikacji:
    2010
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    Diadochokinesis
    Etude
    Figuration
    Piano
    minimal music
    neo-classicism
    composing technique
    Opis:
    The article covers the years 1916 to 2006, i.e. from Karol Szymanowski’s Twelve Etudes Op. 33 (1916) to Krzysztof Baculewski’s Twelve Etudes (2006). During the period under examination piano etudes were written by many Polish composers. Those by Szymanowski, Witold Lutosławski, Andrzej Panufnik, Grażyna Bacewicz and Bolesław Woytowicz are considered to be most representative. In the twentieth century and at the beginning of the twenty first century, the etude has not been an anachronic genre, as evidenced by the constant flow of new works penned by composers. These include both works in which the organization of the musical material draws on tradition and those which explore the techniques of twentieth century-music. The neo-classical trend exerted a far-reaching influence on the character and stylistic features of Polish piano etudes of the first half of the twentieth century. Works by Lutosławski, Bacewicz, Woytowicz, Szeligowski, and to some extent by Panufnik can serve as examples. The etudes by Lutosławski and Bacewicz are beyond doubt of the most outstanding artistic merit. They are part of the concert repertoire and are among the most frequently performed Polish 20th-century etudes. The etudes of Norbert Mateusz Kuźnik, Andrzej Hundziak and Franciszek Woźniak employ the techniques typical of new music, such as a new type of notation, and therefore belong to the avantgarde and post-avantgarde group. Post-modernist Two Etudes by Paweł Szymański also belongs to this group. The work is a good example of ‘sur-conventionality’, a style that is characteristic of Szymański’s music. The etudes by Polish composers, particularly contemporary ones, are used all too rarely as instruction pieces in Polish music schools. They are also rarely included in recital programmes. The reasons should be looked for in the lack of adequate preparation of both the students and teachers, as well as in an insufficient knowledge and understanding of 20th-century music. All this results in a reluctance to explore this part of the Polish musical heritage.
    Źródło:
    Seminare. Poszukiwania naukowe; 2010, 27; 233-247
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Stan badań nad życiem i działalnością Wojciecha Łukaszewskiego (1936-1978)
    The state of research on the life and works of Wojciech Łukaszewski (1936–1978)
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/495701.pdf
    Data publikacji:
    2013
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    Article
    Composer
    Czestochowa
    Encyclopedia
    Music journalism
    Master’s thesis
    Wojciech Lukaszewski
    Opis:
    The literature about composer Wojciech Łukaszewski includes two books, nine scholarly articles, five theses, over 80 newspaper articles and web pages. The book by M. Łukaszewski (ed. WSP, Częstochowa 1997) contains a description of the life history and memories of W. Łukaszewski as well as a thematic catalogue of Łukaszewski’s works. The book Musical Interludes is the first, complete edition of the collected journalistic work of Łukaszewski, which covers 126 reviews and 7 interviews. So far, nine scientific articles about Łukaszewski have appeared in scholarly journals in Częstochowa, Katowice, Bydgoszcz and Warsaw. Bibliographic entries about Łukaszewski are inscribed in: Musical Encyclopedia of PWM, the dictionary Polish Composers between 1918-2000, Lexicon of Polish Music Teachers, International Who’s Who in Music and Musicians and others. A list of literature about the composer can be found at a webpage dedicated to him: www.lukaszewski.waw.pl
    Źródło:
    Seminare. Poszukiwania naukowe; 2013, 34; 351-365
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Twórczość fortepianowa kompozytorów polskich w latach 2000-2017 na przykładzie wybranych utworów
    Piano Works of Polish Composers in the Years 2000-2017 at the Example of Selected Works
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/494878.pdf
    Data publikacji:
    2018-03-31
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    fortepian
    generacja
    muzyka fortepianowa
    postmodernizm
    styl
    technika kompozytorska
    composer technique
    generation
    piano
    piano music
    postmodernism
    style
    Opis:
    Artykuł dotyczy polskiej muzyki fortepianowej w latach 2000-2017. W XXI wieku nastąpił wzrost zainteresowania twórców fortepianem. Wśród kilkuset napisanych utworów można wyróżnić gatunki i formy tradycyjne (jak mazurek, toccata, sonata, wariacje, preludium, etiuda, nokturn), jak i o innej formie i tytule. Utwory te można ułożyć w cztery grupy: nurt postmodernistyczny, nurt modernistyczny, nurt neomodernistyczny, nurt antymodernistyczny oraz ujęcia hybrydowe, czyli takie, w których kompozytorzy stosują dwudziestowieczne i dawniejsze (romantyczne) środki techniki kompozytorskiej. Do analiz wybrano utwory przedstawicieli nurtów: postmodernizm: Krzysztof Baculewski i Andrzej Dziadek, neomodernizm: Paweł Kwapiński, antymodernizm: Paweł Michał Chmielnicki, Tomasz Kamieniak, ujęcia hybrydowe: Maciej Zieliński i Piotr Gryska. Tematyka nie doczekała się dotychczas naukowego opracowania.
    The article deals with Polish piano music composed in the years 2000-2017. In the 21st century, there was an increasing interest of musicians in the piano. Among the hundreds of works written at that time, we can distinguish genres and traditional forms (such as mazurka, toccata, sonata, variations, preludes, etude, nocturnes), as well as other forms and titles. These compositions can be divided into four groups: postmodern current, modernist current, neomodernist current, antimodern current, and hybrid approaches, in which composers use both the twentieth century and former (romantic) compositional techniques. Postmodernism: Krzysztof Baculewski and Andrzej Dziadek, neomodernist current: Paweł Kwapiński, antimodern current: Paweł Michał Chmielnicki, Tomasz Kamieniak, hybrid approaches: Maciej Zieliński and Piotr Gryska. The subject has not yet been elaborated scientifically.
    Źródło:
    Seminare. Poszukiwania naukowe; 2018, 39, 1; 181-198
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Działalność kompozytorska, naukowa i pedagogiczna Alicji Gronau w świetle biografii kompozytorki
    The compositional, academic and pedagogical activities of Alicja Gronau in the light of her biography
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/496658.pdf
    Data publikacji:
    2012
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    Marian Borkowski
    Szabolcs Esztényi
    Alicja Gronau
    Witold Rudziński
    Improvisation
    Polish women composers
    Eurhythmics
    compositional technique
    music theory
    Opis:
    ‘High-calibre artists who are women’ – was the motto of an exhibition ‘Polish women composers 1816-1939’, which was held in Katowice in 2003. In the nineteenth century, professional composers were almost all men. Only a handful of women earned a reputation for accomplishments that went beyond amateur music-making. In the twentieth century, women made their presence felt in various forms of artistic activity, including music. Grażyna Bacewicz (1909-1969) is regarded as the patron of Polish women composers of the last century. She achieved worldwide reputation and ranks among the most outstanding 20th-century Polish composers, alongside Karol Szymanowski, Witold Lutosławski and Krzysztof Penderecki. Alicja Gronau, born in 1957, belongs to the most interesting Polish women composers. She began her musical education in 1971 in one of Warsaw’s secondary music schools, attending eurhythmics classes with Barbara Turska and studying piano improvisation with Szabolcs Esztényi, a Hungarian pianist and composer domiciled in Poland. It was thanks to Esztényi that improvisation charted the development of her career. Having graduated from secondary school, Gronau enrolled at the Fryderyk Chopin Music Academy in Warsaw, where she gained two diplomas: in music theory (the class of Witold Rudziński) and subsequently in composition (under the guidance of Marian Borkowski). During her studies, she worked closely at the Experimental Eurhythmics Workshop at her Alma Mater. She participated in the Workshop’s study visit to Hungary, the 14th Congress of the International Society for Music Education in Warsaw and in the eurhythmics courses organized by the E. Jaques-Dalcroze Institute in Geneva and Zakopane (Poland). Gronau stresses that eurhythmics and improvisation played a highly important role in the development of her compositional workshop. Gronau’s first composition, written during her studies with Marian Borkowski, was Przenikanie (Penetration) for solo clarinet (1981). It was followed by Mironczarnie I for a cappella vocal septet (1982), Gioco per voci e batteria (1982), Open for clarinet, viola and horn (1983), Flowing for orchestra (1984), String Quartet No. 1 (1984) and Versioni for 24 performers (1984). In these works, she employed a wide range of techniques. She developed her skills at numerous master courses, including those in Kazimierz Dolny-on-the-Vistula. She is a prizewinner of many composers’ competitions, as well as grants and state distinctions (see – the final fragment of the Polish version of the article). Her creative interests proceeded from a freely-elaborated dodecaphony to controlled aleatory and a search for her own, individual musical idiom. One of her latest major compositions is Poemat – Requiem for orchestra. Her entire output includes several dozen compositions for various performance forces and of diverse stylistic and expressive features. (see the list of compositions at the end of the Polish version of the article). Gronau has also developed a teaching career. She joined the faculty of the Fryderyk Chopin Music Academy (now the Fryderyk Chopin Music University) in 1983. She gained a doctor’s degree in 1997 and became an assistant professor in music composition in 2007. She also worked closely with the Universities in Warsaw and Zielona Góra, as well as with universities in Romania and Chile. At her Alma Mater, she is Head of postgraduate studies in music theory and composition, and of doctoral studies. She also organizes academic sessions and concerts in the ‘composer portrait’ series. In her research, she concentrates on her own compositional method (see the list of publications in the Polish version of the article), the problems of eurhythmics and the theory of rhythm, musical graphics and the analysis of works by other composers (e.g. Marian Borkowski, Jani Christou, Piotr Perkowski, Witold Rudziński, Kazimierz Sikorski). She has several books and numerous articles in Polish and foreign periodicals to her credit.
    Źródło:
    Seminare. Poszukiwania naukowe; 2012, 32; 253-266
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Życie, działalność i twórczość kompozytorska Mariana Borkowskiego – rekonesans
    The Life, Activity and Works of a Composer Marian Borkowski. Introduction
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/495886.pdf
    Data publikacji:
    2016-06-30
    Wydawca:
    Towarzystwo Naukowe Franciszka Salezego
    Tematy:
    aleatoryzm
    Marian Borkowski
    kompozycja
    muzyka polska
    pedagogika
    punktualizm
    sacrum
    sonoryzm
    aleatorism
    composition
    Polish music
    education
    pointillism
    sonorism
    Opis:
    The article presents a portrait of Marian Borkowski (b. 1934), a composer, pianist, musicologist and composition pedagogue. The state of research on his work and education has been presented in six chapters, beginning with the years of his study in the family town, Pabianice, until his return from complementary studies in Paris. The article depicts various pedagogical activities of Marian Borkowski, with a particular emphasis on the teaching of composition. The presented reflection concentrates on Borkowski’s work as a composer and it points out particular periods of his activity, the features of style and the compositional technique.
    Artykuł opisuje sylwetkę Mariana Borkowskiego (ur. 1934) – kompozytora, pianisty, muzykologa i pedagoga kompozycji. W sześciu rozdziałach przedstawiono stan badań nad jego twórczością, wykształcenie, począwszy od nauki w rodzinnych Pabianicach, aż do powrotu ze studiów uzupełniających w Paryżu. Omówiono różne formy działalności pedagogicznej Borkowskiego, ze szczególnym uwzględnieniem pedagogiki kompozycji. Podstawę rozważań tworzy refleksja o twórczości kompozytorskiej ze wskazaniem na periodyzację tej twórczości, cechy stylu i technikę kompozytorską.
    Źródło:
    Seminare. Poszukiwania naukowe; 2016, 37, 2; 187-199
    1232-8766
    Pojawia się w:
    Seminare. Poszukiwania naukowe
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    DIALOG KULTUR NA PRZYKŁADZIE DWUDZIESTU ODSŁON MIĘDZYNARODOWEGO FESTIWALU MUZYKI SAKRALNEJ GAUDE MATER W CZĘSTOCHOWIE (1991-2010)
    DIALOGUE OF CULTURES ON THE EXAMPLE OF THE TWENTY VIEWS OF THE INTERNATIONAL FESTIVAL OF SACRED MUSIC GAUDE MATER IN CZĘSTOCHOWA (1991-2010)
    Autorzy:
    Łukaszewski, Marcin Tadeusz
    Powiązania:
    https://bibliotekanauki.pl/articles/566596.pdf
    Data publikacji:
    2014
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    chrześcijaństwo
    Częstochowa
    dialog
    festiwal Gaude Mater
    islam
    judaizm
    kultura
    muzyka sakralna
    sacrum
    Christianity
    Czestochowa
    the dialogue
    the festival Gaude Mater
    Islam
    Judaism,
    culture
    sacred music
    sacred
    Opis:
    The paper describes the phenomenon of multiculturalism at the International Festival of Sacred Music Gaude Mater in Częstochowa. The festival has been running since 1991. It includes a variety of artistic events, most of them sacred music concerts (Gregorian chant, early music, Orthodox, Polish music from all historical periods, and premieres). The festival also promotes the musical culture of Jasna Góra. The special feature of the festival is its multiculturalism involving the presentation of non-Christian sacred music. In the years 1991-2010, the festival featured Jewish, Muslim, Egyptian, and African music. The dialogue between cultures also facilitates connections between high and mass culture. This is accomplished through various combinations of gospel, jazz, pop elements with classical music. In addition, the attempts of dialogue between different cultures furnish a number of non-musical events, such as theatre performance, arts exhibitions, and conferences.
    Źródło:
    Ars inter Culturas; 2014, 3; 53-67
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-9 z 9

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