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    Tytuł:
    Muzyka instrumentalna kapeli kościoła farnego pw. św. Jadwigi Śląskiej w Grodzisku Wielkopolskim
    The Instrumental Music of the Parish Church Band of St. Jadwiga Śląska in Grodzisk Wielkopolski
    Autorzy:
    Smolarek, Dariusz
    Powiązania:
    https://bibliotekanauki.pl/articles/45642644.pdf
    Data publikacji:
    2021-12-09
    Wydawca:
    Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL
    Tematy:
    polscy twórcy symfonii
    muzyka kościelna
    Grodzisk Wielkopolski
    XVIII-wieczna symfonia
    18th-century symphony
    Polish symphony composers
    church music
    Opis:
    Zachowane muzykalia osiemnastowiecznych kościelnych kapel muzycznych wskazują, że w ich repertuarze znajdowały się nie tylko dzieła sakralne, ale również instrumentalne. Bardzo popularnym gatunkiem były utwory zwane symfonią. Jednym z takich zasobów z utworami instrumentalnymi są nuty po kapeli muzycznej parafii św. Jadwigi Śląskiej w Grodzisku Wielkopolskim. Autorami zachowanych symfonii byli zagraniczni kompozytorzy z kręgu szkoły mannheimskiej oraz dojrzałego kręgu klasycznego. Dla rodzimych twórców stanowili oni wzór tworzenia utworów instrumentalnych. Symfonie, jak to było w ówczesnym zwyczaju, były wykonywane również podczas liturgii. Można więc mówić o zjawisku zwanym symfonia kościelna.
    The preserved musical pieces of 18th-century church music bands indicate that their repertoire included not only sacred works, but also instrumental pieces. A very popular genre were those called symphonies. One such resource for instrumental works are the notes from the music band of the parish of St. Jadwiga Śląska in Grodzisk Wielkopolski. The authors of the extant symphonies were foreign composers from the Mannheim school, as well as “mature classical” circles. For native Polish composers, they were a model for the creation of instrumental pieces. Symphonies, as was the custom of the time, were also performed during the liturgy. Thus, we can talk of a phenomenon called the church symphony.
    Źródło:
    Roczniki Humanistyczne; 2021, 69, 12; 51-67
    0035-7707
    Pojawia się w:
    Roczniki Humanistyczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Symphony No. 7 by Krzysztof Meyer - strategy of building the form, expressivity of the work
    Autorzy:
    Podhajski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/780247.pdf
    Data publikacji:
    2011
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    20th century
    Polish composers
    Krzysztof Meyer
    Symphony no. 7
    form and expressivity of the work
    Opis:
    The article brings closer the formal and expressive properties of the 7th Symphony by Krzysztof Meyer, composed in the years 2002/2003. Meyer distinguishes several specific features that should be taken into consideration during the process of composing.1 These include: the capacity to adapt, the limitation of soundinformation transferred onto the listener, and a division of the form into integrant phases. The capacity to ‘adapt’ occurs through opposing emotional states connected with the reception of music: remembering, familiarising, and becoming used to a certain property of the musical progress - surprise that emerges with the appearance of a change. The surprise effect is a strong reaction, and one that is sought after for the purpose of maintaining a high level of the listener’s engagement in the reception process of music. The need to ‘limit the sound-information’ that the composer transfers onto the listener allows the latter to take note of it and remember it. An information overload leads to a sense of disorientation, being lost, and consequently discouragement from active listening. Finally, ‘the significance of the structural elements of the form’ is considered. In his conclusion, Meyer presents a model of musical form as a progress based on phases unfolding in time. The composer outlines the following phases: the initial phase, the essential phase, the transitional phase, the phase of particular importance, and the final phase. However, he warns against literal and orthodox understanding of his concept. ‘Meyer’s fundamental aim is ‘to lead’ the listener and not to overstretch their perceptive capabilities. A ‘planned spontaneity’ is the purpose’.2 ‘All the symphonies by Meyer, both early and recent, were shaped in the same manner. The process is at the forefront: build-up, development, clashing collisions, conflict of contrasting elements’.3 The 7th Symphony is also built according to similar constructional principles. What distinguishes it from the earlier works in this genre is connected with the expressivity of the work. The composer notes: ‘The symphony evolves according to musical laws par excellence, but not without admitting some thoughts about myself in metaphorical categories, because, after all, the subtitle ‘Sinfonia del tempo che passa’ - Symphony of the Passing Time - was not chosen accidentally’.4 Thus it is a tale about one of the most fundamental existential experiences of every human being: the passing. This is suggested by the emotional aura of the music, the subtitle that the work was given, and references to emphatic rhetoricalmusical figures known from the Baroque period. As Thomas Wesselman wrote: ‘The subtitle Symphony of the Passing Time clearly invites the assigning of a retrospective character to this opus no. 97’.5 ‘It is true that the composer has never commented on the subject, but the justification of the suspicion seems to be confirmed by the expressivity of the final movement (molto lento), which, in a way, is a statement filled with peace and tranquillity made by a human being with years of experience behind him. In any case, it suffices to compare this symphony with its two predecessors, i.e. the 5th, full of energy and scored for strings, and the dramatic 6th written as a reaction to the introduction of the martial law in Poland; one has a sensation that a moment of reflection (pondering over life’s end?) plays a special role in the 7th'.6
    Źródło:
    Interdisciplinary Studies in Musicology; 2011, 10; 155-174
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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