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Tytuł:
“Od Chopina do ... Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin
Autorzy:
Keym, Stefan
Powiązania:
https://bibliotekanauki.pl/articles/780123.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Zygmunt Noskowski
reception
aesthetics
analysis
variation form
national music
programme music
Opis:
The aim of this text is to present the process whereby Zygmunt Noskowski grew closer to the music of Chopin, which he initially treated with considerable distance. In the first part of the article, the author analyses verbal testimony of Noskowski’s Chopin reception on the basis of extant columns written by him. Noskowski’s attention first focused on Chopin towards the end of the 1880s, the catalyst being the Chopin anniversaries celebrated in 1894 and 1899, for the purposes of which Noskowski arranged piano compositions by Chopin for orchestra and voice. The picture of Chopin sketched by Noskowski in his press writings contained Classicist components in which his sense of form and his affinities with the work of Bach were underlined; on the other hand, Noskowski stressed in Chopin’s music - as a specifically Polish characteristic - its links with nature. Both these factors influenced the shape of Noskowski’s own music. In the second part of the article, the author shows Chopin’s influence on Noskowski’s compositions, which initially found expression through the intermediary of the dramatic aspects of the Second Symphony of Ignacy Feliks Dobrzyński, and then in episodic links between Noskowski’s symphonic poem Step [The steppe] and Chopin’s Rondo ä la krakowiak, Op. 14. The climactic point of Noskowski’s dialogue with Chopin is defined by his programmatic-patriotic orchestral work Z życia... [narodu] [From the life... [of the nation]], in which Chopin’s Prelude in A major from opus 28 served as the basis for a set of variations; this work, despite a number of inconsistencies, is regarded by the author as an important work, both in its from and in its culturalhistorical significance.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 115-138
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Accents of Chopin anniversaries in territories annexed by Prussia
Autorzy:
Piotrowska, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/780149.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
anniversary
Wielkopolska
concerts
tableaux vivants
tableaux illuminés
mass audience
Opis:
This article discusses the way in which the Chopin Year of 1910 was celebrated in Wielkopolska. It presents a script prepared in the nineteenth century and shows similarities with celebrations of Mickiewicz and other Polish heroes and artists. Invariably used in such commemorations was a “symbolic capital” that made it easier to create an intergenerational code, thereby disseminating knowledge of national culture and history. A significant role was played in 1910 by a centenary panel, which produced “Guidelines for popular Chopin celebrations” and also many occasional, popular materials. Chopin’s induction into the national pantheon involved the use of audio material (vocal and instrumental concerts), verbal material (articles, poems, lectures and brochures) and also a visual code (anniversary window stickers, tableaux vivants or tableaux illuminés). Illuminated pictures - recommended by a catalogue of slides produced in Poznań - stimulated the imagination of the masses and served as a guide through the composer’s life and work, and their impact was enhanced by a commentary. Most of the living pictures were probably inspired by Henryk Siemiradzki’s canvas Chopin grający na fortepianie w salonie księcia Radziwiłła [Chopin playing the piano in Prince Radziwill’s salon] and Józef Męcina Krzesz’s painting Ostatnie akordy Chopina [Chopin’s last chords]. This combination of codes made it possible to create a model adapted to the times and to the expectations of a mass audience. The Chopin anniversary, in which admiration was inseparably intertwined with manipulation, was a pretext for strengthening the national identity.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 165-176
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin - Grottger
Autorzy:
Poniatowska, Irena
Powiązania:
https://bibliotekanauki.pl/articles/780127.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Chopin’s 24 Preludes
Op. 28
Artur Grottger’s graphic cycles
Stanisław Tarnowski
correspondance des arts
Opis:
Is Stanisław Tarnowski’s linking of Fryderyk Chopin and Artur Grottger in his Dwa szkice [Two sketches] justified? Well, the connection is substantiated by the “Romantic-leaning” point of view and the idea of the correspondance des arts that characterised the nineteenth century in which the two creative artists (and Tarnowski himself) lived, although they represented different creative fields. Both the musician Chopin and the artist Grottger were regarded as poets. The former on account of the poetic of his piano playing and musical works, the latter for the poetical dimension of his pictures devoted to the January Rising. Tarnowski called Chopin the fourth bard of Poland, alongside Adam Mickiewicz, Juliusz Słowacki and Zygmunt Krasiński, and Grottger the poet of the Rising, since - as he paradoxically stated - the poetical narrator of those events could only be an artist. Terminology of a literary character belonged to the lexicon of notions employed by critics of art and music at that time. Besides this, the national character is inscribed in the idiom of the work of both these creative artists - the thoroughly patriotic stance that was so strongly manifest in the output of Polish romanticism. Another common denominator in their work is the concept of the cycle. With Chopin, the 24 Preludes, Op. 28 comprise a cycle in which the bonding element is the succession of major keys and their relative minor keys according to the circle of fifths, but they are also an expressive cycle of various states of mind, from despair to joyous reverie. The Preludes show both the semantic capacities and the suppleness of Chopin’s musical language; that is, the ability to express the same feelings through various purely musical means, without any programmatic motto. With Grottger, we have the cycles Warszawa [Warsaw] (two cycles), Polonia, Lituania and Wojna [War]. In them, the metonymy of the narrative sequences is coupled with the notional exposition, with the symbolism. Grottger portrays not the historical scenes of the Rising, but the feelings of grief, despair and fear of individual people, reflecting their experiences. And so the concept is similar. Chopin’s Preludes are like sketches, aphoristic utterances; sketches are also important in the work of Grottger, partly as a self-contained genre. A third plane of analogy is the reduction of media. Chopin confines himself essentially to the piano, from which he produces startling tonal qualities, although he did write several works for chamber or orchestral forces. Grottger, meanwhile, draws his cycles solely in black pencil, using white only to heighten contrasts and give the effect of chiaroscuro. He did not wish to distract the attention of viewers, but wanted them to concentrate on the symbol.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 101-114
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and jazz. The case of Andrzej Jagodziński’s arrangement ofthe Prelude in E minor
Autorzy:
Madeła, Patrycja
Powiązania:
https://bibliotekanauki.pl/articles/780377.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
jazz
jazz arrangements
Andrzej Jagodziński
Opis:
The current of jazz interpretations of Chopin’s music appeared in Polish jazz in the early 1990s. On the one hand, it is the most original and native stylistic trend of all trends influencing jazz in Poland. On the other, it is an exceptional phenomenon internationally, since no works of classical music have received so many jazz arrangements worldwide. The achievements of Polish jazz pianists in this regard have become most representative, since piano texture and the process of improvisation on a given theme show the most obvious references - not only musically, but also emotionally- to the musical language of Chopin. The recording of the award-winning album Chopin by the Andrzej Jagodziński Trio in December 1993 triggered a host of artistic arrangements of Chopin works by Polish jazz pianists, each of which constitutes an individual approach to the Chopin material, reflected in basic factors such as the criteria for the selection of compositions or themes and the process of the original’s transformation. Most jazz arrangements of Chopin’s music involve the piano miniatures that dominate the composer’s oeuvre. This is due to the clarity of the melodic lines, which inspire artists to turn them into themes for jazz standards. The Prelude in E minor, Op. 28 No. 4 has become the most frequently arranged piece of Chopin’s music in the field of jazz. The numerous arrangements are also stylistically diverse. Jagodziński’s arrangement is an example of this pattern being adapted for use in a jazz context. For him, the themes and mood of Chopin’s music have become a pretext for the creation of his own jazz compositions largely inspired by Chopin’s melodies and harmonies, but also by symmetrical form. Arrangements of Chopin’s music have been continually criticised by purists, who regard such procedures as a sort of profanation (any patriotic content in Chopin’s original compositions seems to vanish in the chaos of jazz improvisation, which disturbs the integral form of the originals). The basic problem here seems to be ignorance of the fact that Chopin’s music is essentially only a pretext, a kind of external emblem, for the creation of entirely new compositions, carrying different content, characterised by the author’s individuality.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 371-382
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and Polish FOLK
Autorzy:
Dahlig-Turek, Ewa
Powiązania:
https://bibliotekanauki.pl/articles/780339.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
mazurkas
traditional music
folk music
Opis:
Although Chopin’s music is continually analysed within the context of its affinities with traditional folk music, no one has any doubt that these are two separate musical worlds, functioning in different contexts and with different participants, although similarly alien to the aesthetic of mass culture. For a present-day listener, used to the global beat, music from beyond popular circulation must be “translated” into a language he/she can understand; this applies to both authentic folk music and the music of the great composer. In the early nineties, when folk music was flourishing in Poland (I extend the term “folk” to all contemporary phenomena of popular music that refer to traditional music), one could hardly have predicted that it would help to revive seemingly doomed authentic traditional music, and especially that it would also turn to Chopin. It is mainly the mazurkas that are arranged. Their performance in a manner stylised on traditional performance practice is intended to prove their essentially “folk” character. The primary factor facilitating their relatively unproblematic transformation is their descendental triple-time rhythms. The celebrations of the bicentenary of the birth of Fryderyk Chopin, with its scholarly and cultural events of various weight geared towards the whole of society, gave rise to further attempts at transferring the great composer’s music from the domain of elite culture to popular culture, which brings one to reflect on the role that folk music might play in the transmission and assimilation of artistic and traditional genres.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 343-356
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin and the Warsaw literati - part two
Autorzy:
Nowicka, Elżbieta
Powiązania:
https://bibliotekanauki.pl/articles/780415.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Stefan Witwicki
Dominik Magnuszewski
aesthetics of early romanticism
folk tradition
fragment
generation
Opis:
Chopin’s life in Warsaw fell at a time of important phenomena and processes in history, the arts, aesthetics, etc. This article deals with the artistic and social milieu to which the composer belonged and looks at the question of the common artistic imagination and aesthetic ideas elaborated within that environment, based on the example of Chopin and two poets: Stefan Witwicki and Dominik Magnuszewski. Chopin’s relationship with Witwicki, which gave rise to his songs to the poet’s texts and lasted into their time in exile, is considered in respect to discussion on folk culture that was on-going at that time. That culture was treated as a sign of the nobly archaic or else as a manifestation o f modern art, of the “art of the future”. These convictions did not function as alternatives; their overlapping characterised various aspects of early romanticism. The output of Magnuszewski, meanwhile, shows the transformation of traditional figures of rhetoric into Romantic means of expression. It displays a style of writing that constitutes an act o f Romantic hermeneutics in respect to the language of tradition. Avoiding simple comparisons of works of very different artistic level and significance, the author analyses Chopin’s relationships with the two poets by reference to the generational experience - as variously understood - of creative artists born during the first decade of the nineteenth century, which connected artists of different levels of talent and varying individual fortunes.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 31-52
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin as Romantic narrator (in his youth)
Autorzy:
Nowicka, Justyna Cecylia
Powiązania:
https://bibliotekanauki.pl/articles/780411.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Romantic epistolography
Romantic narrator
Romantic irony
aesthetic of the fragment
Opis:
One can find the same features in Chopin’s correspondence as in his music. They share a wealth of emotions, expressivity and lightness, and also narrative and speech-like qualities. Far from programmicity and illustrative explicitness, Chopin the composer articulates musical content with an almost verbal force of transmission; his letters, meanwhile, bear the same distinct stamp of his personality that marks out his piano works. In both domains, Chopin may be called a narrator, but particularly interesting proves to be analysis of his correspondence, from the point of view of the narration of a Romantic ironical poem. Although one would be hard pressed to speak of an exact equivalence, it is worth taking into account the strong subjectivity, combined with irony and the writer’s self-irony, but above all his affinity with Schlegelian Romantic irony. This notion is of fundamental significance for changes to the subject in Romantic poetry and for the emergence of the form of the ironical poem. The creativeness of the text, the exposure of the subject, digressions, humour, leaps of thought and style, and a variability and transformation of content - those are just some of the characteristics of the ironical narrator. Also crucial to these considerations is the Romantic aesthetic of the fragment.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 69-82
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin in the music culture of Russia in the second half of the nineteenth century. From Glinka to Scriabin
Autorzy:
Baranowski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/780121.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Russia
Fryderyk Chopin
reception
Chopin style
national style
Mighty Handful
Opis:
This article deals with the reception of Chopin’s music in Russia during the second half of the nineteenth century, as broadly understood. The Chopin cult that developed in Russia was not only genuine, it was exceptional in Europe, giving rise to numerous artistic achievements in many complementary areas, above all composition, pianism and music publishing. The author discusses the issue from an historical perspective, presenting profiles of six outstanding Russian composers in whose life and work the influence of Chopin was at its greatest. The first is Mikhail Glinka, a pioneer of the national orientation in Russian music, who drew abundantly on Chopinian models. The next generation is represented by Anton Rubinstein, the most famous Russian pianist of his times, and two of the Mighty Handful, Mily Balakirev and Nikolay Rimsky-Korsakov. Among the last heirs to Chopin in Russia, pursuing their artistic careers around the turn of the twentieth century, are two composers who masterfully assimilated the stylistic idiom of the composer of the Polonaise-Fantasy, namely Anatoly Lyadov, known as the “Russian Chopin”, and Alexander Scriabin.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 139-150
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin on the cinema screen. Aesthetic and cultural determinants
Autorzy:
Kornacki, Krzysztof
Powiązania:
https://bibliotekanauki.pl/articles/780343.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
cinema
biography
music
Opis:
As with most film subjects, the way Chopin has been presented in the cinema has been the result of a particular poetic (depending on the genre) and cultural context. The author classifies cinematographic Chopinalia on the basis of the former determinant, although without neglecting entirely, in some sections of the text, to treat film as a text of culture. The clear majority of documentary and educational films about Chopin have been made in Poland (as a form of promotion for the country, which does not boast too many icons of world culture). For both aesthetic and cultural reasons, the boundary between documentary and educational film has become blurred. Historical documentaries have used the same iconographic material, film shots and utterances, and also - for the purposes of musical illustration - the same Chopinworks as educational films. Cultural considerations have affected the thematic restrictions in respect to silver screen discourse about Chopin: in both genres, it reflects a rather stereotypical approach to the composer’s life story, with no room for the “Chopin mysteries” (e.g. his fascination with Tytus Woyciechowski) that have long been addressed in the literature. In experimental and animated film, the accent has been shifted - in keeping with the essence of those genres - from Chopin’s biography to his music. Nevertheless, here too the pressure of cultural (national) context has determined the choice of film material accompanying particular works. At the same time, experimental films have become anti-war or political films (as in the case of Eugeniusz C^kalski’s Utwory Chopina w kolorze [Chopin’s works in colour], from 1944 or Andrzej Panufnik’s Bailada f moll [Ballade in F minor], from 1945), whilst the presentation of Chopin’s music in animated films has been full of iconographic clichés and pleonasms (a Mazovian landscape with cleft willows, carriages speeding along in the background, dancing ballerinas, falling leaves and so on), creating a schematic visual code that is automatically associated with the compositions of the brilliant Pole. By way of contrast, it is worth emphasising that a few foreign experimental films (Max Ophiils’s La Valse Brillante de Chopin, Germaine Dulac’s Dysk 927) have illustrated Chopin’s music with images of “universal” objects (piano, gramophone, rain) associated more with music than with feelings, and not with Poland. The dozen or so feature films about Chopin have mainly belonged to popular cinema. For that reason, in the overwhelming majority of cases, the film-makers have turned to biographical facts which possess a suitable dramatic potential. Feature films about Chopin have treated history as a background - a costume in which to dress a tale about universal cultural myths: the myth of love (the relationship with George Sand, which has dominated Chopin films), the pseudo-Romantic myth of the great artist and the patriot myth (prime examples being Charles Vidor’s A Song to Remember and Jerzy Antczak’s Chopin. Pragnienie miłości [Chopin. Desire for love]). Some films - albeit few in number - have adopted a different strategy. One such picture attempted to exploit Chopin’s life story to exemplify Marxist historiosophy and a socialist- realist poetic (Aleksander Ford’s Młodość Chopina [Chopin’s youth]); another- Andrzej Żulawski’s Błękitna nuta [La note bleue] - is a truly original picture about the composer and, like almost every original film, tells us as much about the director as about Chopin himself.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 317-342
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Chopin: Visual Contexts
Autorzy:
Szerszenowicz, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/780347.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Władysław Podkowiński
Zbigniew Rybczyński
Teofil Kwiatkowski
Jerzy Duda-Gracz
correspondance des arts
music in art
Opis:
The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emigration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the composer with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for example, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kornel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march]. The testimony of people who visited the Cracow apartment of Stanisław Przybyszewski suggests crucial links between Wojciech Weiss’s lost painting Chopin that hung there and the host’s aesthetic writings and legendary sessions of nocturnal improvisations. Against the background of that iconography, Jerzy Duda-Gracz’s idea of painting all Chopin’s works, subsequently brought together in the cycle Chopinowi Duda-Gracz [From Duda-Gracz for Chopin], is quite exceptional, in terms of its genesis, the extent of Chopin’s oeuvre and also the way in which music is transformed into painting. The artist attempted to capture the atmosphere of Polish landscapes visited by the composer, linking them to particular works. The Chopin cycle possesses a clear stylistic and symbolic identity, although it is impossible to establish a universal pattern for translating music into visual art. Although Zbigniew Rybczyński employed a camera and advanced cinematographic techniques, his depiction of Chopin’s Marche funebre from the Sonata in B flat minor (in his suite of films The Orchestra) refers to Romantic-symbolic interpretations and to previous pictorial visualisations. The director dresses his actors in historical costumes and places them in front of the Paris Opera. To the rhythm of Chopin’s music, they play out - using theatrical expression typical of silent film, pantomime, ballet and tableaux vivants - a story of maturing and ageing.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 297-316
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fryderyk Chopin i George Sand w oczach polskich biografów i krytyków literackich
Autorzy:
Bochenek-Franczakowa, Regina
Powiązania:
https://bibliotekanauki.pl/articles/638607.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
Tematy:
Fryderyk Chopin, Aurore Dudevant, George Sand, famous lovers, biographies, polish biographers
Opis:
Fryderyk Chopin and George Sand in the Eyes of Polish Biographers and Literary Critics The Polish composer Fryderyk Chopin and the French writer Aurore Dudevant (pen name George Sand) have spent several years in a close relationship, which has become the source of one of those tales about famous lovers, tales that with time acquire various interpretations and begin their own independent life. The present article offers the picture of this relationship gleaned from essays, biographies and literary works written and published in Polish from 1840 until today. The most interesting discovery of the research is a change in the image of George Sand, who had been first seen as a great writer, and only then gradually became no more than Chopin’s lover. Also, the attitude towards George Sand, in spite of numerous objective interpretations by Polish biographers, is still hostile, which distorts the complex character of their relationship.
Źródło:
Studia Litteraria Universitatis Iagellonicae Cracoviensis; 2010, 5, 1
2084-3933
Pojawia się w:
Studia Litteraria Universitatis Iagellonicae Cracoviensis
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Fryderyk Chopin in popular instrumental music
Autorzy:
Kasperski, Jakub
Powiązania:
https://bibliotekanauki.pl/articles/780379.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
popular culture
popular music
instrumental music
rock music
electronic music
inspiration
reception
Opis:
The author considers whether Fryderyk Chopin and his oeuvre may be regarded as part of popular culture - and if so, to what extent. However, the text is mostly taken up with analysis of popular instrumental music inspired by Chopin’s works in various ways: from simple quotation, adaptation and transcription to more sophisticated instrumentation and arrangement, free improvisation or even the creation of a completely new work derived from a single motif or sample from Chopin. Consequently, the author deals with the problem of reception, but also with the issue of transculturation and the relationship between high and popular culture. The article shows and describes the variety of Chopin inspiration in a wide range of styles and genres of popular music, such as rock music, easy-listening, electronic music, dance music and disco.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 357-370
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
It all began with George Sand. Novelistic portraits of Fryderyk Chopin and his music in foreign literature. A survey
Autorzy:
Maciąg, Kazimierz
Powiązania:
https://bibliotekanauki.pl/articles/780167.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
George Sand
Hermann Richter
Peer Hultberg
literary biography
French literature
German literature
literary motifs
Opis:
The literary works discussed in this article exploit the motif of Fryderyk Chopin and his oeuvre in a variety of ways. The earliest novel is Lucrezia Floriani (1846), penned by the French writer George Sand, Chopin’s companion. The creation of Prince Karol (Chopin’s name in the novel), as if “detached” from the Polish composer’s biography, is an interesting, although none too original (even within the context of Sand’s oeuvre) example of the Romantic hero. Popular output, aimed at a readership seeking above all scandal and emotion, is represented by the German writer Hermann Richter’s novel Drei Frauen um Chopin (1935) and the contemporary thriller of collective authorship The Chopin Manuscript (2008). In these works, the composer is a tool designed to give readers the illusion of becoming acquainted with his biography or to interest sensation-seekers. Artistically the most interesting novel is Preludes, by the Danish writer Peer Hultberg (1989). Besides its original artistic form, the author is the only one to deal with musical material, attempting to present in prose that which ought to form the heart of every work about the brilliant musician, but which was achieved only by Cyprian Norwid in Fortepian Szopena [Chopin’s piano].
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 251-264
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
On collective forms of the Chopin cult in Poland during the nineteenth century
Autorzy:
Dziadek, Magdalena
Powiązania:
https://bibliotekanauki.pl/articles/780119.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin cult
Chopin literature
Chopin anniversaries
Opis:
This article is devoted to specific forms of the Chopin cult that developed in Poland during the nineteenth century. Due to the socio-political situation in the country during the period of the Partitions and the influence of tradition, this cult was manifest first and foremost in the joint experiencing of anniversaries connected with the composer on the part of members of local communities or the entire nation. The basic medium of that experience was the press, in which biographic articles, sketches on his music and also poetical works devoted to the composer were an obligatory part of the anniversaries of Chopin’s birth and death. In this way, the Chopin cult in Poland became primarily a literary phenomenon. Also linked to the traditional culture of the letter that was Polish culture of the nineteenth century is the characteristic form of the Chopin cult known as the obchod. The communal character of the obchod was reflected in its specific form and content. One of the prime concerns was the need to forcibly communicate the fact that Chopin’s music was a national good. Thus at the centre of the theatrically-managed obchod stood an orator or actor declaiming against the background of Chopin’s music. For the purposes of these declamations, a huge amount of literature was produced, examples of which are discussed in the article. Another characteristic “anniversary” product were re-workings of Chopin compositions for large orchestral and choral forces, treated as “ceremonial”. One example of a Chopin celebration displaying the features discussed were the Lviv Chopin celebrations in 1910, which the author describes in more detail.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 151-164
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
On the trail of a trail, the trace of a trace. Kazimierz Przerwa-Tetmajer’s Cień Chopina and its compositional interpretations
Autorzy:
Gmys, Marcin
Powiązania:
https://bibliotekanauki.pl/articles/780169.pdf
Data publikacji:
2010
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Fryderyk Chopin
Kazimierz-Przerwa-Tetmajer
Władysław Żeleński
Stanisław Lipski
Juliusz Wertheim
Ryta Gnus
Witold Friemann
song
Young Poland music
national style and pastoral style in music
Opis:
At the beginning of this article, the author points out how quickly the image of Chopin as an artist who wrestled all his life with a mortal sickness (Chopin as a “singer of Weltschmerz”) took shape - an image which was subsequently taken up by European art of the fin de siecle. Attention then turns to the poem Cień Chopina [Chopin’s shadow], by the poet Kazimierz Przerwa-Tetmajer, highly fashionable during the Young Poland period, which can be ascribed to the “Weltschmerz current”. In contrast to earlier interpreters of this lyric, the author does not identify the lyrical subject of Tetmajer’s poem with the shadow (that is, the soul) of the Polish composer, but - referring to the observations of Barbara Sienkiewicz, who applied the Heideggerian formula of the “trace of a trace” to her exegesis of Tetmajer’s works - maintains that its hero is the shadow of Chopin’s shadow (or the shadow of his soul). Going on to analyse four song settings of this poem composed during the period 1900-1926 by Władysław Żeleński, Stanisław Lipski, Juliusz Wertheim and Ryta Gnus, and also the composition Cień Chopina by Witold Friemann (1913-46), scored for piano, baritone and orchestra, the author arrives at the conclusion that four composers - Żeleński, Wertheim, Gnus and Friemann - interpreted Tetmajer’s lyric in a way that is not entirely in keeping with the poet’s intentions. These composers, employing stereotypical Chopin formulas (a quasi-folk drone or chords imitating bells) or allusions to specific Chopin works, treated the lyrical subject of Tetmajer’s poem as identical to Chopin’s soul. Only Stanisław Lipski, who in his song forged a “pastoral scene”, referring to some extent to the most important features of the pastoral idiom elaborated by Beethoven on the pages of his Sixth Symphony, interpreted the figure of the lyrical subject of Tetmajer’s poem, listening to voices from the past, as a “double epiphenomenon” - a shadow of Chopin’s shadow.
Źródło:
Interdisciplinary Studies in Musicology; 2010, 9; 215-250
1734-2406
Pojawia się w:
Interdisciplinary Studies in Musicology
Dostawca treści:
Biblioteka Nauki
Artykuł
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