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Tytuł:
Concertino Wojciecha Łukaszewskiego jako przykład łączenia tradycji z nowoczesnością
Wojciech Łukaszewski’s Concertino as an example of blending tradition with modernity
Autorzy:
ŁUKASZEWSKI, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/454065.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Opis:
The present article analyses the Concertino for piano and orchestra (1964) by Wojciech ukaszewski, a composer whose entire career was associated with the town of Częstochowa. Apart from the fragments of my M.A. dissertation and brief sections of my monograph on the composer, the work has not been the subject of any deep musicological analysis. Neo-Classical in style, the Concertino for piano and orchestra was written in 1964, during ukaszewski’s fourth year of studies at the State Higher School of Music, in the class of Professor Tadeusz Paciorkiewicz. It was ukaszewski’s first large-scale composition and also his first orchestral score (his output until then comprised solely songs, chamber works and piano pieces). The 15 minute long Concertino took Łukaszewski almost a year to complete. The composition falls into three contrasting movements: I Allegro giocoso, II Andante cantabile, III Allegro scherzando. The piano is accompanied by sym- phony orchestra consisting of double woodwind (2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons), two horns and two trumpets, percussion (triangle, ket- tledrum, cymbals, big drum, timpani, xylophone) and strings. The first movement (116 bars) is of a lively character, with a sense of mobility, a permanent quaver-based pulse and a prominent role assigned to rhythm. The piano is the dominant instrument, its virtuoso part conducting a dialogue with various instrumental groups, as a result of which the role of the orchestra is not confined to accompaniment but co-creates the lively development of the musical material. The colouristic effects of the orchestral writing is an important feature of this movement. Allegro giocoso follows the pattern: ABA1 + Coda. The central movement of the Concertino (91 bars) stands in contrast to the work’s outer movements, in terms of expression, texture and stylistic features. A song-like melodic line and a multi-layered, slightly polyphonic texture are assigned priority. The dynamics are generally piano, with slight inclinations towards mezzoforte and several times towards forte and fortissimo (at the two climaxes). Andante cantabile is a homogenous movement, in which the continuum of form proceeds in a linear way, smoothly flowing from the opening three-part motif to the last note. The third movement (132 bars) has an ABA1 structure. In view of the frequent returns of the light and somewhat teasing theme, introduced by the piano, this Allegro scherzando can also be treated as a rondo. The shape of the music (similarly to the other movements) is based on the dialogue between solo piano and orchestra, proceeding in several bar-long sections. The neo-Classical inspirations in Wojciech ukaszewski’s Concertino can also seen in its grotesque and sarcastic flavour, which sometimes takes the form of pastiche, (an allusion to the style of Prokofiev), with its constant pulse and motoric drive, the treatment of rhythm as the supreme form-building and expressive factor, and the structure of individual movements (the first reminiscent of sonata allegro and the third of rondo). The work’s significant features also include an important role for percussion, colourful instrumentation, the use of polyphony, the dialogue of the piano and various instrumental groups, the use of fugato in the finale and distinct, earcatching themes. In 1973 Wojciech ukaszewski made another version of the Concertino, designed for teaching purposes, where the original material was simplified to a large extent, including its instrumentation.
Źródło:
Edukacja Muzyczna; 2010, 5; 9-52
2545-3068
Pojawia się w:
Edukacja Muzyczna
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:
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:
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:
Związki Wojciecha Łukaszewskiego ze Śląskiem
Wojciech Łukaszewski’s relationship with the region of Silesia
Autorzy:
ŁUKASZEWSKI, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/943631.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
Cieszyn
Katowice
kompozytorzy śląscy
Wojciech Łukaszewski
muzyka polska
Opole
Śląsk
Wrocław
Częstochowa
Filharmonia Częstochowska
Freski wrocławskie
Zygmunt Hassa
Czestochowa
Czestochowa Philharmonic Wroclaw Frescoes
Silesian composers
Polish music
Silesia
Wroclaw
Opis:
Związki Wojciecha Łukaszewskiego (1936–1978), kompozytora, pedagoga, krytyka muzycz- nego i działacza muzycznego, ze Śląskiem są wieloaspektowe, obejmują cały region Śląska. Wyłączam z rozważań Częstochowę, chociaż jest ona usytuowana na obrzeżach Śląska, lecz pod względem kulturowym jest miejscem z własną tradycją i kulturą. Kontakty Łukaszewskiego ze środowiskiem Górnego i Dolnego Śląska miały głównie zawodowy charakter. Będąc dyrektorem szkoły muzycznej, musiał bywać w katowickich instytucjach administracyjnych. Kontakty arty- styczne utrzymywał zwłaszcza ze stolicą Dolnego Śląska. Kilkakrotnie prezentowano jego utwory na Wrocławskim Festiwalu Polskiej Muzyki Współczesnej. Brał również udział w organizowa- nych we Wrocławiu konkursach kompozytorskich. Jeden ze swoich utworów, Freski wrocławskie, poświęcił (poprzez tytuł) temu miastu. Utrzymywał kontakt z górnośląskimi artystami, którzy wykonywali jego utwory (dyrygent Piotr Warzecha, śpiewaczka Anna Porwik-Pniok). Ponadto miały miejsce kontakty częstochowskiej szkoły muzycznej ze szkołą artystyczną w Boguminie na Śląsku Cieszyńskim. Mimo dość obszernego piśmiennictwa o Łukaszewskim, wątek jego kontaktów ze Śląskiem nie był dotychczas podejmowany w badaniach naukowych jako odrębny temat badawczy.
Wojciech Łukaszewski (1936–1978), composer, teacher, music critic and music activist main- tained varied relations with the whole region of Silesia. The study do not take into account Czestochowa. Even though it lies on the outskirts of Silesia, in terms of culture the town has its own traditions and customs. Łukaszewski’s contacts with the Upper and Lower Silesia were main- ly professional in nature. As a music school headmaster, he was supposed to visit the provincial administration institutions in Katowice. He maintained artistic contacts with the capital city of the Lower Silesia. His works were presented several times at the Wroclaw Festival of Polish Contem- porary Music. He participated also in competitions for composers in Wroclaw. He dedicated one of his works, Freski wrocławskie [Wroclaw Frescoes] to the city of Wroclaw. He maintained relations with the Silesian artists performing his works (the conductor Piotr Warzecha, the singer Anna Porwik-Pniok). Moreover, the Czestochowa music school kept contacts also with the Bohumín art school in Cieszyn Silesia region. Despite a fairly extensive scientific literature about Łukaszewski. the studies have not so far treated his relations with Silesia as a separate research topic.
Źródło:
Edukacja Muzyczna; 2016, 11; 97-118
2545-3068
Pojawia się w:
Edukacja Muzyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wojciech Łukaszewski jako krytyk muzyczny
Wojciech Łukaszewski as a music critic
Autorzy:
ŁUKASZEWSKI, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/454038.pdf
Data publikacji:
2015
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
Filharmonia Częstochowska
„Gazeta Częstochowska”
kompozytor
krytyka muzyczna
publicystyka
„Ruch Muzyczny”
szkoła muzyczna
Wojciech Łukaszewski
„Życie Częstochowy”
Częstochowa Philharmonic
“Gazeta Częstochowska"
composer
music criticism
journalism
“Ruch Muzyczny”
music school
“Życie Częstochowy”
Opis:
Artykuł omawia prace publicystyczne Wojciecha Łukaszewskiego (1936–1978) – kompozytora, pedagoga, dyrektora częstochowskiej szkoły muzycznej w latach 1971–1978, krytyka muzycznego i animatora muzycznego. Na początku artykułu skrótowo omówiono ważniejsze prace naukowe o Łukaszewskim. Obejmują one artykuły naukowe, hasła w słownikach i encyklopediach, prace magisterskie. Więcej na ten temat autor pisze w swoim artykule Stan badań nad życiem i działalnością Wojciecha Łukaszewskiego (1936–1978), „Seminare. Poszukiwania naukowe” 2013, nr 34, s. 351–365. Krytykę muzyczną Łukaszewski uprawiał razem z kompozycją i pracą pedagogiczną. Było to jednak jego dodatkowe zajęcie. Prowadził on działalność publicystyczną w latach 1968–1977. Współpracował z redakcjami takich gazet, jak: dziennik „Życie Częstochowy”, tygodnik „Gazeta Częstochowska” i dwutygodnik „Ruch Muzyczny”. Wykaz recenzji Łukaszewskiego obejmuje 122 pozycje. Najwięcej z nich ukazało się na łamach „Życia Częstochowy”. Jest to 115 tekstów, w tym 99 to relacje z koncertów (przede wszystkim regularne recenzje koncertów odbywających się w Filharmonii Częstochowskiej), audycji szkolnych, czasem przeglądów zespołów amatorskich, a także refleksje z wyjazdów zagranicznych. 16 recenzji to sprawozdania z odbywających się w Częstochowie festiwali: Festiwalu Młodzieży Muzycznej Jeunesses Musicales i Ogólnopolskiego Festiwalu Skrzypcowego im. Grażyny Bacewicz. W „Ruchu Muzycznym” Łukaszewski opublikował sprawozdania z trzech pierwszych Ogólnopolskich Festiwali Skrzypcowych (1968, 1969, 1970). Natomiast w „Gazecie Częstochowskiej” (1968, 1972, 1975) pisał o Społecznym Ognisku Muzycznym w Częstochowie. Zebrane prace publicystyczne ukazały się w 2009 r. w książce Łukaszewskiego pt. Muzyczne interludia. Recenzje, sprawozdania, refleksje, wywiady, red. M.T. Łukaszewski, Musica Sacra Edition, Warszawa 2009.
The article describes Wojciech Łukaszewski’s journalistic work (1936–1978). He was a composer, a teacher, the principal of the music school in Czestochowa from 1971 to 1978, a music critic and a music animator. The introduction to the article summarises Łukaszewski’s major scientific works. They include scientific essays, dictionary and encyclopaedia entries as well as master’s theses. More information on this subject can be found in my article Stan badań nad życiem i działalnością Wojciecha Łukaszewskiego (1936–1978) [‘The state of research on the life and work of Wojciech Łukaszewski (1936–1978)’], published in the journal: „Seminare. Poszukiwania Naukowe” [‘Seminare. Scientific research’], 2013, No. 34, pp. 351–365. Apart from being a music critic, Łukaszewski was also a composer and a teacher. It was, however, his additional occupation. Over the period 1968–1977, he was active as a journalist. He cooperated with newspapers such as the daily “Życie Częstochowy” [‘Life of Czestochowa’], the weekly “Gazeta Częstochowska” [‘Częstochowa Newspaper’], and the biweekly “Ruch Muzyczny” [‘Music Movement’]. The list of his reviews covers 122 articles, most of which were published in “Życie Częstochowy”. 99 out of 115 texts are concert reviews (mainly the Częstochowa Philharmonic concert reviews, educational music programs, sometimes amateur groups reviews and reflexions from trips abroad). 16 reviews concern the Youth Music Festival “Jeunesses Musicales” and Grażyna Bacewicz International Violin Competition. His reviews of the three first International Violin Competition were published in “Ruch Muzyczny” [‘Music Movement’] (1968, 1969, 1970) while his articles on the Private Music Centre in Czestochowa could be read in “Gazeta Częstochowska” [‘Częstochowa Newspaper’] (1968, 1972, 1975). The collected journalistic work of Łukaszewski was published in 2009 in his book Muzyczne interludia. Recenzje, sprawozdania, refleksje, wywiady [‘Musical interludes. Reviews, reports, reflec- tions, interviews’], edited by M.T. Łukaszewski, Musica Sacra Edition, Warsaw 2009.
Źródło:
Edukacja Muzyczna; 2015, 10; 181-204
2545-3068
Pojawia się w:
Edukacja Muzyczna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Inspiracja religijna w dzieałach fortepianowych i klawesynowych Mariana Sawy
Religious inspiration in Marian Sawa’s works for piano and harpsichord
Autorzy:
ŁUKASZEWSKI, Marcin Tadeusz
Powiązania:
https://bibliotekanauki.pl/articles/454051.pdf
Data publikacji:
2011
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Opis:
Marian Sawa (1937–2005) wrote music for piano and harpsichord between 1967 and 2004. His early works, dating from his student years, demonstrate the composer’s interest in the neo-Classical aesthetic, whereas the later ones (particularly those dating from the 1990s and the last years of his life) exhibit features of a highly individual musical idiom. These include primarily the drawing of inspiration from sacred music and the folk music heritage (these inspirations overlap- ping ), often linked with virtuosity and motoric drive. These features are also present in Sawa’s piano music and make it possible to distinguish in it three basic strands: dance and folk-influenced, virtuosity (toccata) and the sacred. Sawa’s idiom is rooted in both the composer’s musical and non-musical experiences, which include the childhood years spent in the countrywide, his father’s work as an organist in opiennik, his own studies at the Organ School run by the Salesian Order in Przemyl and his work as a church organist. Sawa’s religious inspiration, which is discussed in my article, seems to be one of the most readily recognizable features of the composer’s entire instrumental output. It is most evident in his organ compositions but is also present in his works for piano and harpsichord. In most of his pieces Sawa used stylized quotations from Polish church songs (Trzy elegie / Three Elegies, Koldowe granie / Christmas Carolling, Cztery koldy / Four Christmas Carols, III Mazurek / Mazurek No. 3) and from Gregorian chant (the Mass setting Orbis Factor). Sawa also used tunes in crudo. He paid utmost attention to ensure that these sources are not overshadowed by other compositional devices. Hence the quoted melodies are presented in a very lucid form and against simple harmonic backgrounds. This is not to say that the harmonic writing lacks original solutions (Sawa’s typical harmonic ideas include consonances based on fourths, on combinations of fourths and fifths and of sevenths and fourths or tritones, on augmented triads and bfunctional patterns, which do not hamper the presentation of the quoted material but often support it. Indeed, the quoted melodies seem to be assigned a primary role, similarly to that played by the text in Sawa’s vocal and vocal-instrumental compositions. Sawa’s selected piano pieces discussed in my article centre on the two extreme axioms of human existence, birth (of God-Man: Mae koldowanie / Little Carolling, Cztery koldy / Four Christmas Carols) and death (Trzy elegie / Three Elegies, Rapsod / Rhapsod). Marian Sawa’s piano works, even though remaining rather little known, occupy an important place in his compositional legacy and in the history of post-1939 Polish piano music as a whole. The latter comprises over 3000 pieces for piano solo and so Sawa’s output is therefore only a small fraction of it. In terms of opus numbers, however, it belongs to the most numerous, alongside those of Grayna Bacewicz, Mariusz Dubaj, Witold Friemann, Piotr Lachert, Miosz Magin and Aleksander Tansman. Once Sawa’s piano works are ensured a broader presence in the public consciousness, it will be possible to appreciate fully their artistic and didactic merits.
Źródło:
Edukacja Muzyczna; 2011, 6; 35-89
2545-3068
Pojawia się w:
Edukacja Muzyczna
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:
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:
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:
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
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
Wyświetlanie 1-15 z 35

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