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1

Stare i nowe polskie piosenki i pieśni patriotyczne

100%

Kładoczny P.

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nr 2 (24) A

49-72

EN

The article is devoted to old and new Polish patriotic songs. It contains an analysis of the content of the collected works. The old songs were uplifting in nature and were very important for national culture. They were used to shape identity and build community, and at the same time to communicate important events. They express love for the homeland, proclaim its beauty and the need to fight for the maintenance or recovery of freedom. The new songs were created after 1983 and are already part of popular culture. They are highly individualized and express the emotional personal commitment of the creator. In addition, they move away from religious themes. Modern patriotic songs consist of four currents: traditional, new attitudes, social and historical. Traditional and historical currents are the closest in value to old patriotic songs. The current of new attitudes becomes a place of searching for an individual reference to patriotism. The social trend registers reality and is sometimes used to take a critical look at what is currently happening in Poland.

2

Wczesny okres twórczości Władysława Żeleńskiego w oczach polskich krytyków muzycznych

88%

Jaczyński M.

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2014

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tom 4

121-146

EN

The article attempts to describe the early, pre-opera reception of music written by Władysław Żeleński (1837–1921), one of the most important Polish composers and music educators working in the second half of the nineteenth and early twentieth century. The lower limit of the study period is the first mention of the composer in the press, namely the review of the Piano Sonata Op. 5 by Józef Sikorski (1859). This period ends in the year 1785, just before the premiere of Żeleński’s the first opera, Konrad Wallenrod. The source material was all Polish periodicals of that time, comprised of musical specialized magazines, art magazines, general public magazines and journals (including Cracow’s “Czas”). The aim of the author of this paper was to present the main problems (and their evolution) which occur in Polish critical-thinking about music in the context of Żeleński’s orches-tral works, as well as songs, piano and chamber music. Among these issues, the most important seem to be the reviewers’ attempt (initially tentative) to classify Żeleński by one of the current trends — insert him in the rigid framework of interpretation. The following oppositional categories can be mentioned: technicism and lyricism, talent and genius, youthfulness and maturity, classical and salon music, “national” style and a cosmopolitan one. One of the main issues for critics was to determine the influences in Żeleński’s works, and thus find out the artistic way which he fol-lowed. And here are the most common patterns mentioned by the reviewers: the classic style, the “national” one (in this case his songs were very often evaluated as linked with Stanisław Moniszko’ works) and the New German School. In the critical-thinking of music Żeleński somehow balances between these concepts. The aim of the author of this paper was to highlight the most important arguments that appear in discussions and — additionally — to supplement historiographic base associated with the composer.

3

TEKSTY O ZNACZENIU ŚPIEWU OPUBLIKOWANE W „PRZYJACIELU PIEŚNI” W LATACH 1936–1939. WSTĘPNE ROZPOZNANIE ŹRÓDŁOWE

63%

Knieja M.

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nr 17

61-73

PL

Pielęgnowanie pamięci o polskich pieśniach ludowych, patriotycznych i kościelnych na ziemiach Górnego Śląska, należących w latach trzydziestych XX w. do państwa niemieckiego, było wartością nadrzędną, towarzyszącą powstaniu i redagowaniu przez członków Związku Polskich Kół Śpiewaczych na Śląsku Opolskim miesięcznika „Przyjaciel Pieśni”. Czasopismo, którego twórcami byli śpiewacy, muzycy i dziennikarze, przez cztery lata swojego trwania (od 1936 do 1939 r.) pełniło funkcję informacyjną, wychowawczą i edukacyjną. Stało się miejscem, gdzie, jak nigdzie indziej, doceniano wartość śpiewu i jego zbawienny wpływ na śpiewaków, a także na słuchaczy i czytelników, zwłaszcza w tak trudnym czasie przedwojennym. Bóg, Honor i Ojczyzna - wychwalane w pieśniach - to idee, które przyświecały redaktorom zrzeszonym wokół „Przyjaciela Pieśni”. I w codziennej, żmudnej pracy czynili wszystko, aby tę piękną maksymę wcielać w życie.

EN

Cultivating the memory of traditional Polish folk, patriotic and religious songs in Upper Silesia (which belonged to the German state in 1930s) was the primary reason for the formation of the monthly magazine “Przyjaciel Pieśni” (The Song’s Friend) by members of The Association of Polish Singing groups in Opole – Silesia. The two main purposes of the magazine (which was created by singers, musicians and journalists) for four years of its running (between 1936–1939) were to inform and educate its readers. The publication became a place where the value of singing was highly appreciated, which was something that did not exist anywhere else at the time. They emphasized the healing effect of singing not only for those listening, but the singers as well, especially in a difficult pre-war period. God, Honour and Homeland – praised in songs – were the values of the editors, creators and journalists working in “Przyjaciel Pieśni” and every day with hard work they embodied those values.