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Ukolébavka v prostoru – prostor v ukolébavce. Miloslava Kabeláče Šest ukolébavek (1956)

100%

Kordík P.

Hudební věda (Musicology)

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2009

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tom 46

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nr 4

393-417

EN

The study 'A Lullaby in a Space - the Space in the Lullaby. Miloslav Kabelac's Six Lullabies (1956)' is a follow-up to an earlier one (published in the previous issue). The author focuses in particular on the accompaniment structure (flute, bass clarinet, strings and small female choir), which is completely extracted from material in the solo vocal line. There is a wide range of variation, from the use of only one tone to the expansion of melodic cells from the original vocal line. The composer creates different sound textures ranging from a rhythmic pedal on a single tone to different polyphonic combinations. Sound textures trace two principal planes: one of reciprocal stratification of the sounds layers which are more or less independent and the other, where all layers are in a harmony. They exist, not in isolation from each other, but grow organically from one another.

2

ON METHODS OF ANALYSING SONORISTIC MUSIC IN THE CONTEXT OF MUSICAL SONOLOGY OF JÓZEF M. CHOMINSKI

80%

Lindstedt I.

Musicology Today

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2006

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tom 3

93-126

EN

In his theory of sonology aiming at the systematization 20th-century sound phenomena Józef M. Chominski's managed to create a unique theoretical system, unprecedented in the musical thought of the 20th century, which on the one hand reflected changes in compositional techniques and on the other opened up to composers perspectives of creating new sound systems, regulators of timbral qualities and new structural systems. The article opens with a preview of most important 20th-century music theoretical concepts relating to the problem of sound. Chominski's theory is placed within their context, its methods and terms, such as 'sonoristic modulation', criteria (e.g. sound source) and classifications (e.g. of modulated sounds) are explained. Finally, the authoress evaluates cognitive values of this theory and indicates perspectives of its development.

3

RELATIONS BETWEEN MUSIC AND TEXT IN PIERRE BOULEZ'S 'PLI SELON PLI' (Analiza zwiazków slowno-muzycznych w 'Pli selon pli' Pierre'a Bouleza)

80%

Kawczynska E.

Przegląd Muzykologiczny

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2004

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nr 4

81-108

EN

The essay summarizes an extended analysis of relations between text and music in Pierre Boulez's cycle 'Pli selon pli'. Composed in 1958-1964, the cycle consists of three vocal-instrumental pieces and two outer movements which are instrumental, with accidental interventions of the human voice. 'Pli selon pli' draws upon poetic texts of Stéphane Mallarmé, the avant-garde French symbolic author. The composition is an homage to Mallarmé, whose poetic ideals are also Boulez's own. To identify fully the relationship between poetic and musical text, the analysis focuses on three levels: form, semantics, and prosody. First addressing generic relations between the stanza structure of the poems and the musical architecture of the pieces, the analysis then identifies more subtle interrelations between meanings and each verse's intonation and rhythmic structure. Boulez's writings on how to relate music to poetic text serve as a reference point. The analysis reveals that Boulez mostly dismisses simple solutions, rejecting such tools as onomatopoeia, and looks instead for deeper correlations between text and music based on contextual meanings and the mood created by the poetry. The composer's strategy mainly focuses on structure; Boulez builds relations between the poetic and musical text structure through formal devices (stanza divisions), logical structure as related to meaning, and rhythmic structure as related to the intonation of each verse. 'Pli selon pli' may thus be seen as Boulez's answer to Mallarmé's pivotal question whether poetry and music can be related on a deepest level.

4

'UN ROYAUME DIFFÉRENT' (A DIFFERENT REALM) - ABOUT 'HURQUALIA' IN THE CONTEXT OF THE THE MUSICAL STYLE OF GIACINTO SCELSI

80%

Skupin R.

Musicology Today

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2007

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tom 4

104-114

EN

Scelsi's 'Hurqualia' (1960), first of his six works for grand orchestra, differs substantially from the rest of his output. The analysis of different aspects of the works permits to describe its characteristic features and symbolism. Whereas Scelsi's idiom relies mainly in Indian-Tibetan evocations, it is the spirit of Arabia, which resonates in this work. One of the elements, which reflect it, is the timbre, with - in contrast to other compositions - reed woodwind instruments accentuated (also by amplification), as well as viola and double bass emphasized. This is explained by the authoress as a reference to the sound of Arabic oboe 'zurna' and the 'rebab' respectively. The work's distinctiveness is manifest also in rhythmic dynamism, surprising in the context of Scelsi's output, mostly contemplative and static in its character. Finally, the meaning of its title is explained as the name of Muslim mythical emerald land; the journey to this land being a symbol of the initiation process. The authoress argues that the metaphor of road, so clearly present in the music and symbolism of this composition, is the most appropriate key to interpreting Scelsi's poetics in general.

5

A CONTRAPUNTAL-HARMONIC-ORCHESTRAL MONSTER? KAROL SZYMANOWSKI'S FIRST SYMPHONY IN THE CONTEXT OF POLISH AND GERMAN SYMPHONIC TRADITION

80%

Keym S.

Musicology Today

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2008

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tom 5

5-25

EN

The author argues that Szymanowski's famous statement about his First Symphony Op. 15 (1906-1907), which disappeared from the concert programmes after its first performance in 1909 and remained unpublished to this day, should not be taken too literally and that the symphony deserves more attention that it has received up to now. The symphony is analyzed from the perspective of Polish and German symphonic traditions and some of its distinctive features are discussed. The author questions the 'Straussian' label given to the main theme of the first movement set in sonata form and fast tempo, demonstrating that its chromatised structure with dark harmonic and timbral tones resembles more the 'King Roger' than the triadic 'Don Quixote' theme. Although the impact of the 'New German' school cannot be denied, several features distinguish the symphony from these models; the whole concept of the work and such elements as occurences of clear tonality and unexpected cuts, typical of Polish symphonic style, especially of Szymanowski's teacher Zygmunt Noskowski, and the placement of the climax, marked by a whole-tone chord (rather unfamiliar to Wagner and quite popular among the 'Young Poland' composers), in the second part of the development. The author demonstrates that in his First Symphony Szymanowski, already at that early age experimenting with the most radical consequences of contemporary stylistic trends makes an important step towards a new individual symphonic idiom beyond conventions, with a harmonic languages much more modern than that of any other Polish composer of the time, and structure close to the Adorno's 'total development' principle of the Second Viennese School.

6

THE SCRIABIN THEME IN THE FIRST PHASE OF KAROL SZYMANOWSKI'S CREATIVE DEVELOPMENT

80%

Chwilek A.

Musicology Today

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2008

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tom 5

26-38

EN

The aim of the article is to supplement Józef Chominski's analyses of interrelationships between the compositional techniques of Scriabin and young Szymanowski by listing those of Scriabin's compositions which might have potentially provided the model and by establishing the actual extent of 'the Scriabin theme' in Szymanowski's work. The survey of the latter's writings and correspondence permits to state that the surviving sources seem to confirm that while adoption of Scriabin's motivic-thematic model occurred at the very beginning of the creative development of the Polish composer, the distancing of this idiom corresponds with the shaping of this truly individual musical language, which took place at the beginning of the 1920s. As far as the compositional technique is concerned, main features of the Scriabin theme model are defined, Szymanowski's early works referring to this model are listed and interpreted through the intertextual lens, perceived as a dialogue with existing repertoire.

7

THE LEITMOTOFS IN 'KING ROGER'

80%

Helman Z.

Musicology Today

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2008

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tom 5

79-93

EN

Szymanowski's readings and his novel 'Efebos' are revised as important sources for the opera 'King Roger' (began in 1918 and finished in 1924). Some of the essential aesthetic ideas are then described, such as the principle of 'coincidentia oppositorum', as expressed in the contrasting of the elements in the libretto and music. The authoress observes that music contains only references to the most general features of medieval or oriental music, which should be termed rather as stylistic allusions than stylisation. It is the emotional character of the music, which is more important than the stylistic accuracy. The external contrasts of the action are according to the authoress levelled out by the leitmotifs common to all the acts and representing the three main characters. They provide the musical cohesion and create the inner action, which on occasions reveals the hidden meaning of the verbal layer. One of the examples of the treatment of the leitmotifs, corresponding to the dramaturgy, is the deconstruction of Roger's motif in the third act, expressing his psychological disintegration. The transformations of the motifs are analyzed in other crucial moments of the action, which provides some explanation of the opera's complex meanings.

8

OPERATIC GENRES IN THE OEUVRE OF JÓZEF MICHAL KSAWERY PONIATOWSKI

80%

Golianek R. D.

Musicology Today

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2007

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tom 4

78-94

EN

The forgotten composer and opera singer, Prince Józef Michal Ksawery Poniatowski (1816-1873), a well-known figure in the political and musical world of Italy and France born in Rome, worked as Tuscan ambassador and became a senator of the French empire at the court of Napoleon III. His output comprising 12 operas, displays a marked variety with regard to either Italian or French operatic genres and styles on which he draws. The author defines: seven operas as belonging to the 'bel canto' type 'opera seria', one as a comic opera in the style of Italian 'opera buffa' . He further analyzes another opera, 'La contessina', attributing it to the 'semiseria' genre. Three other works are characterized as examples of French 'grand opéra' (Pierre de Médicis) and 'opéra comique' (Au travers du mur, L'Aventurier). The article ends with a conclusion that the composer was an international figure, and his musical idiom was not linked to Poland.

9

'DIE DANZIGER AUSRUFER' OF MATTHAEUS DEISCH (1762-1765). AN ANALYSIS OF STREET CRIES ('Wywolywacze gdanscy' Mattheusa Deischa (1762-1765). Analiza zawolan handlowych.)

80%

Bilozór-Salwa M.

Przegląd Muzykologiczny

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2011

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nr 8

67-92

EN

Mattheus Deisch's collection Die Danziger Ausrufer was made in 1762-1765 as one of the European graphic series portraying pedlars. This is also a collection that contains transcriptions of their musical street cries. The advertising by the hawkers, which could be heard on the streets of towns and villages, fulfilled a double function: an informative one and that of publicity. These functions determined both the choice of musical means and the structure of the cry. The basic element of its structure may be considered as a melodic-rhythmic-verbal formula; the repetitions, transformations and variants of which dictated the definitive shape of the cry. Yet its musical features, such as a defined melodic range (ambitus) and the register, the melodic and rhythmic direction, determined the transparency and the recognition of the message, whereas the attractiveness of the sound of the street cry controlled its effectiveness as publicity.

10

PAWEL SZYMANSKI'S PARTITA IV AND HIS 'UTOPIA OF THE DOUBLENESS OF MUSIC' (Partita IV Pawla Szymanskiego i jej 'utopia podwójnosci muzyki')

80%

Naliwajek-Mazurek K.

Przegląd Muzykologiczny

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2004

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nr 4

109-145

EN

As in the case of Partita No. 3 of the same year, the architecture of Pawel Szymanski's Partita No. 4 (1986) may be seen as a dual form, in which two sharply contrasting yet dovetailing sections are dynamically interrelated, stemming as they do from the same musical material that is based on a pre-composed model. This model's contrapuntal structure (a three-part fugue in Partita No. 3 and a four-part circular canon in Partita No. 4) is a starting point for a heterophonically textured second section of the piece, whereas the first section extrapolates the model. The continuous presence of the model as the deep structure of the piece generates an elusive feeling of the musical narrative's two-layered character. This technique enables the composer to achieve his goal of 'double' music, rejecting the traditional notions of linearity and teleology. This aspect is further underlined by the piece's temporal structure, in which different types of time can be observed (e.g. spiral and ramified time). The authoress of the essay also discusses the Partita in light of the historical implications of the genre, drawing analogies with compositional concepts of Witold Lutoslawski, György Ligeti (in his Lontano), and Krzysztof Penderecki (in the Partita).

11

SZYMON FERDYNAND LECHLEITNER'S OFFERTORIA FROM THE MUSICAL COLLECTION OF THE LIBRARY OF THE HIGHER THEOLOGICAL SEMINARY IN SANDOMIERZ (Offertoria Szymona F. Lechleitnera ze zbioru ..Biblioteki Wyzszego Seminarium Duchownego w Sandomierzu)

80%

Grabiec D.

Przegląd Muzykologiczny

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2006

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nr 6

17-63

EN

This article, which is based on the existing publications and on the results of the authoress' own research on the musical collection of the Seminary Library in Sandomierz, discusses the six 'Offertoria' by Szymon Ferdynand Lechleitner, a composer active in Poland in the first half of the 18th century. The article starts with an outline of the history of the genre of offertorium and includes a description of the archival sources, along with an analysis of form, texture, melody, harmony and the relations between text and music in the chosen Lechleitner's 'Offertoria'. Apart from the analysis of their compositional technique, the article discusses the course of 18th-century musical life in Sandomierz, the history of the musical collection of the Seminary Library in Sandomierz, and the present state of research on Lechleitner. A separate part of the article is the catalogue, published for the first time, of all Lechleitner's works (with their first lines) which have been discovered up till now.

12

THE SONG 'LA LLORONA' IN THE MEXICAN MUSIC (Piesn 'La Llorona' w muzyce meksykanskiej)

70%

Dubrawska-Stepniewska J.

Przegląd Muzykologiczny

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2009

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nr 7

115-132

EN

The article deals with the topic of a legendary female figure named Llorona, which became popular in the Mexican tradition and Mexican popular music from the 16th century to today. The first part of the article presents the legend of Llorona and focuses on two figures that strongly influenced the contemporary view of her, that is on the mythical, Aztec goddess Cihuacóatl, and on Malinche, an Indian woman from the period of the conquistadors, and on her symbolic meaning in Mexican folklore. The second part of the article concentrates on the song La Llorona. Apart from analysis of its text and music, some examples of the performances of that song by various Mexican folk-groups, which endow them with the characteristics of their regional music, are discussed. Also the figures of two Mexican singers, Chavela Vargas and Lili Downs are considered as the outstanding interpreters of La Llorona.

13

THE FUNCTION OF MUSIC IN MICHAEL MAIER'S ALCHEMIC TREATISE 'ATALANTA FUGIENS' (Funkcja muzyki w traktacie alchemicznym 'Atalanta fugiens' Michael Maiera)

70%

Jaglowski T.

Przegląd Muzykologiczny

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2009

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nr 7

5-40

EN

Michael Maier's alchemic treatise Atalanta fugiens (1617) is an emblematic book containing 50 three-part musical compositions. Each of them has a form of a two-part canon based on a fixed cantus firmus. These compositions constitute a musical equivalent of the content of particular engravings and of both poetic and prose texts. The originality of these compositions consists in a conceptual union of the word and the image with its musical notation, and particularly with the elements of notation and compositional techniques which are used in polyphony. From the artistic and aesthetic perspective, Maier's works are lacking in originality and are of little value, but they are an important example of an hermetic way of thinking and of philosophy of life.