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Chopin w Nohant

Bredy-Łaciak B.

Zieleń Miejska

2010

Nr 6

22-23

Nohant to miejscowość w centrum Francji, która w życiu najsłynniejszego polskiego kompozytora odgrywała ważną rolę, dostarczając inspiracji do stworzenia niemal połowy najlepszych utworów. Warto ją poznać, tym bardziej że do dziś zachowała swój wygląd z pierwszej potowy XIX w.

Polityka i grające tabakierki. Chopin a fonosystem

Janicki Maciej

Prace Komisji Krajobrazu Kulturowego

2008

nr 11

241--252

Politics and musical snuffboxes. Chopin and soundsystem (soundscape) In the proposed paper I analyze and interpret several historical texts about soundscape surrounding Frederick Chopin. Documents from the years 1831, 1838/1839 and 1848 are interpreted in the context of power discourse, social hierarchy and political situation in Paris about 1831 and in 1848 as well as in Spain about 1838. Chopin’s and George Sand’s remarks are basis for the reconstruction of their social status and cultural situation (for instance composer’s political and social views etc.) by the analysis of soundscape (soundsystem). The next step of my work is an analysis of a description of Chopin’s improvisation that is analyzed from the perspective of influences of popular soundsystem (for instance of musical snuffboxes) on music as well as on the meanings that were given by 19th centuries’ listeners while listening to composer’s improvisations. In this document (1846) as well as in the next one (in which the Salzburg’s carillons performing “musical pieces from compositions of the time” are described ) I analyze music’s function in public and private space as well as attributed meanings. The last issue of my paper are Chopin’s “illustrations of events from the Polish history” and quite important – especially in creating national discourse – associationing music with the soundscapes’ sounds. I explore this topic on the example of Liszt’s and other writers’ works on Chopin’s music, especially on his polonaises. Politics is a phenomenon which is distinctively manifested (for example by the details such as musical snuffboxes) in soundscape. The first is general, the second is particular but viewed as pars pro toto. It provides the next kind of historical text which let us to study both musicological and broaden questions.