Temat: Tchaikovsky - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: „Romeo i Julia” Piotra Czajkowskiego. W 400-lecie śmierci Wiliama Szekspira
"Romeo and Juliet" by Peter Tchaikovsky. The 400th anniversary of William Shakespeares death
Autorzy:: Grajewski, Czesław
Powiązania:: https://bibliotekanauki.pl/articles/449883.pdf
Data publikacji:: 2017
Wydawca:: Uniwersytet Kardynała Stefana Wyszyńskiego w Warszawie
Tematy:: P. Tchaikovsky
music
“Romeo and Juliet”
W. Shakespeare
Opis:: With the biography of P. Tchaikovsky in the background, the author describes the circumstances of the creation of the overture Romeo and Juliet. Then he briefly analyzes the composition itself and describes its character.
Źródło:: Saeculum Christianum. Pismo Historyczne; 2017, 24; 228-236
1232-1575
Pojawia się w:: Saeculum Christianum. Pismo Historyczne
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Bohaterowie drugiego planu – o postaciach służących w operze
Secondary Characters – on the Role of Servants in Opera
Autorzy:: Sokalska, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/2135480.pdf
Data publikacji:: 2022-09-30
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: opera
libretto
servant
Mozart
Tchaikovsky
Mussorgsky
Rimsky-Korsakov
Strauss
Wnuk-Nazarowa
Opis:: The article is devoted to the characters of servants in opera and their two radically different variants: a clever servant and a nursemaid. The first variant, rooted in the ancient tradition, becomes more independent with time, and these characters become fully-fledged and sometimes even turn into main characters (e.g. Figaro or Leporello.) The other variant is rooted in the Baroque, when nursemaids were treated, similarly to clever servants, as comic characters. The evolution of the character of a nursemaid in opera turns towards realism, fabulousness and highlighting archetypal features, which can be seen in the examples taken mainly from the Russian operatic tradition. Both types of servants in opera show that despite their socially secondary meaning, these characters serve important functions and become key for the interpretation of a particular scene as a whole.
Źródło:: Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 207-228
1233-8680
2450-4947
Pojawia się w:: Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Granice ironii – granice iluzji. O ontologii postaci w „Eugeniuszu Onieginie” Aleksandra Puszkina i Piotra Czajkowskiego
The Borders of Irony – the Borders of Illusion. On the Character Ontology in Alexander Pushkin’s and Pyotr Tchaikovsky’s “Eugene Onegin”
Autorzy:: Borkowska-Rychlewska, Alina
Powiązania:: https://bibliotekanauki.pl/articles/2135484.pdf
Data publikacji:: 2022-09-30
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: Eugene Onegin
Alexander Pushkin
Pyotr Tchaikovsky
digressive poem
romantic irony
stage illusion
Opis:: The article presents the characteristics of the romantic irony employed in Alexander Pushkin’s digressive poem Eugene Onegin and Pyotr Tchaikovsky’s opera titled alike. The analysis of selected fragments of the libretto which were based on the verses constituting the digressive (rather than storytelling) layer of Pushkin’s work allow one to conclude that the operatic version of Onegin expresses exactly the same kind of romantic irony which was used by the romantic poet. The authors of the libretto achieved something typical of Pushkin’s irony – a flow of the border between illusion and disillusion and an effortless crossing of the dialectic borders of time and space. They did so by multiplying and splitting into layers the “I” of the main character which functions both in the dramatic plane and beyond it, taking over the functions which in Pushkin’s text were performed by the narrator.
Źródło:: Poznańskie Studia Polonistyczne. Seria Literacka; 2022, 42; 137-155
1233-8680
2450-4947
Pojawia się w:: Poznańskie Studia Polonistyczne. Seria Literacka
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 4.

Tytuł:: Wybrane problemy interpretacyjne w VI Symfonii h-moll Patetycznej Piotra Czajkowskiego – uwagi dyrygenta
Selected Interpretation Problems in Pyotr Tchaikovsky’s Symphony No. 6 in h-minor “Pathétique” – Conductor’s Remarks
Autorzy:: KANIOWSKA, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/454030.pdf
Data publikacji:: 2013
Wydawca:: Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:: Pyotr Tchaikovsky
interpretation of musical works
conductorship, symphonic music
19th century music.
Piotr Czajkowski
interpretacja dzieł muzycznych
muzyka symfoniczna
muzyka XIX wieku
Opis:: The article is a complex study of interpretational analysis devoted to Pyotr Tchaikovsky’s Symphony No. 6 in h-minor op. 74 Pathétique. Introduction to the analysis is a short historic outline of development of symphony from its very beginnings to modern times, with emphasis put on crucial points, which are the turning points in the development of this kind of music. Then, the authoress concentrates on characterizing the symphonic language of Pyotr Tchaikovsky, and dis- cussed the Symphony No. 6 Pathétique starting from its genesis to a compact analysis of its form. She points out the elements, which are vital in creating a satisfactory conductors interpretation of the work. The final part of the work is comparison of six phonographic recordings of Tchai- kowski’s Symphony No. 6, made in the 20th century: Tchaikovsky, Symphony No. 6 Pathetique /Ozawa; Boston Symphony Orch. (CD, Erato 6702372), 1991; Czajkowski, Symfonia nr 6 Patetyczna/Semkow, WOSPR&TV in Katowicach (LP Muza SX 1808), 1979; Tchaikovsky, Symphony No. 6 Pathetique/Bernstein & New York Philharmonic (CD DG 419 604–2), 1987; Tchaikovsky, Symphony 6 Pathetique/Karajan, Berlin PO (CD, DG 427 862-2), 1964; Tchaikov- sky, Symphony No. 6 Pathetique/Nanut, Ljubljana Radio Sym Orch. (CD, Jan-1990, Pilz Vienna Masters Series), 1990; Tchaikovsky, Symphony No. 6 Pathetique/Ormandy, Philadelphia Orch (LP, Columbia ML 4544), 1953. According to the subjective assessment of the authoress, the recording of the Symphony made by New York Philharmonic, conducted by L. Bernstein, is closest to the ideal.
Źródło:: Edukacja Muzyczna; 2013, 8; 99-123
2545-3068
Pojawia się w:: Edukacja Muzyczna
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 5.

Tytuł:: ALBUM DLA MŁODZIEŻY PIOTRA CZAJKOWSKIEGO – SCENY Z ŻYCIA DZIECKA?
ALBUM FOR THE YOUTH OF PYOTR TCHAIKOVSKY – SCENES FROM THE LIFE OF A CHILD?
Autorzy:: Wasko, Taras
Powiązania:: https://bibliotekanauki.pl/articles/566389.pdf
Data publikacji:: 2017
Wydawca:: Akademia Pomorska w Słupsku
Tematy:: Piotr Czajkowski
Album dziecięcy
utwory dziecięce
wyobraźnia muzyczna
metody pracy
Pyotr Tchaikovsky
Children’s Album
piano
children’s pieces
musical imagination
working methods
Opis:: One hundred and thirty years since its creation, Children’s Album, Op. 39 by Pyotr Tchaikovsky has been re-examined taking into account the composer’s manuscript and the piece’s long-term pianistic performing tradition. Recent musicological research suggests that the Album was written as a cyclic form, in which the constituent miniatures are inter-linked by common thematic material and tonal relations and share the same philosophic narrative. The article reviews possible motives behind composing the musical piece for children and the Tchaikovsky’s dramatic circumstances at the time that might have influ-enced its final form. The melodies and texts of the original songs exploited by the com-poser as well as tales and games for children introduced in the miniatures are presented. The author discusses technical aspects of mimicking instruments such as balalaika and bar-rel organ on the piano. Practical guidance on working with the Children’s Album from the point of view of a performer and a teacher is proposed.
Źródło:: Ars inter Culturas; 2016, 5; 185-198
2083-1226
Pojawia się w:: Ars inter Culturas
Dostawca treści:: Biblioteka Nauki

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