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1

Liszt and the issue of so called Gypsy music

100%

Piotrowska A. G.

Interdisciplinary Studies in Musicology

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2014

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nr 13

127-140

PL

The article attempts to shed light on Liszt’s connections with so called Gypsy music, with particular emphasis on the sources and manifestations of the composer’s interest in the subject. The paper also shows the effects of Liszt’s thought on his academic successors. Liszt’s fascination with Gypsy music and culture is discussed by outlining his childhood memories as well as indicating numerous personal contacts he had with renowned Gypsy musicians. The author of the paper also links Liszt’s enchantment with Gypsy culture with his readiness to identify his travelling virtuoso status with that of a Gypsy-wanderer. Special attention in the article is put on Liszt’s book Des Bohemiens et de leur musique en Hongrie (1859). The author of the article claims that Liszt’s cosmopolitanism may be a key factor while explaining the composer’s predilection to Gypsy culture and music. While focusing on the reception of Liszt’s views on so called Gypsy music by the posterity Bartok’s interpretation of Liszt’s ideas is reminded. Discussed are also their repercussions in the second half of the twentieth century and early twenty first century.

2

“Od Chopina do ... Noskowskiego”? Zygmunt Noskowskis langer Weg zu Chopin

84%

Keym S.

Interdisciplinary Studies in Musicology

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2010

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nr 9

115-138

PL

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.

3

Reference to the realm of nature in the theoretical reflections and the music of Ludomir Michał Rogowski

84%

Wójtowicz E.

Interdisciplinary Studies in Musicology

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2009

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nr 8

81-92

PL

Besides an abundant musical output, the rich legacy of Ludomir Michał Rogowski (1881-1954) also contains numerous writings, a special place among which is held by Muzyka przyszłości [The music of the future], written in 1919 and published three years later. In this work Rogowski asserted that the possibilities for composing music on the basis of the major, minor and chromatic scales were exhausted. He went on to propose an expansion of the repertoire of scales, giving two criteria for the choice of scales: ‘naturalness’ and ‘rhythmicity’. A ‘natural’ scale is one which can be read from the sequence of fifth steps of the twelve-note chromatic scale in equal temperament. The simplest example is the anhemitonic pentatonic scale. The concept of the renewal of tonal material is central to Muzyka przyszłości, but its author formulates an idea about the rhythmic essence of musical form as well. In his considerations on this subject, he proceeds from the nature-related phenomenon of symmetry. He treats the simplest symmetrical pattern, the ternary form ABA, as an elementary manifestation of rhythm expanded into form. References to nature also occur in Rogowski’s texts on national music. In this context, folk music represents such values connected with nature as simplicity, honesty and freshness; it is devoid of all artificiality or posture, free from all convention. In Rogowski’s musical output, a fascination with nature became a powerful source of inspiration, from which many symphonic works of a programmatic character emerged. The connection with nature and joy of life - the crucial values of Mediterranean culture - are conveyed by the music of Cortege de Dionysos and by the whole of composer’s oeuvre. Rogowski confirmed his belonging to the culture of the South not only with his music. When, in 1926, he left Warsaw for Dubrovnik, he confirmed it also with his life.

4

Jim Samson, Music in the Balkans, Leiden 2013 Brill (= Balkan Studies Library 8), ss. 729. ISBN 978-90-04-25037-6

67%

Guzy-Pasiak J.

Muzyka

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2018

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tom 63

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nr 1

121-125

5

Vliv slovenské lidové hudby a Griegových stylizací norského folkloru na formování Bartókovy hudební řeči

67%

Štefková M.

Hudební věda (Musicology)

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2023

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tom 60

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nr 2

210-251

EN

Béla Bartók’s correlations with Slovakia had several aspects. His mother was born into a German family settled in what was then Pozsony county (Prešpurská župa). After the father’s premature death, Bartók and his mother moved temporarily to Bratislava (Pozsony/Pressburg), where Bartók studied at the Poor Clares Hungarian Catholic Gymnasium; his schoolmates there included Franz Schmidt, Ernö Dohnányi, and Alexander Albrecht. It was also on Slovak territory that he became first acquainted, in 1904, with the archaic stratum of what has been known as “peasant folklore”. Bartók happens to be the compiler of the most extensive ever compendium of Slovak folklore material, Slovenské ľudové piesne (Slovak Folk Songs), containing 3,409 songs and 4,000 song texts – a volume whose monumental size made possible its publication only after his death (between 1959 and 2022). Most relevantly though, eastern European archaic folklore had an essential influence on the genesis of Bartók’s compositional style. It was instrumental in his emancipation from stereotyped metro-rhythmic schemes and the major-minor tonality, enabling him to freely manipulate with each note of the chromatic system. In a lecture “On the Influence of Peasant Music on Music of Our Time”, from 1931 (which has so far remained unpublished in either Czech or Slovak), Bartók defines the concept “peasant music”, pointing to three options of using its impulses in compositional practice, ranging from stylizations to the complete absorption of its inspirations in a composer’s individual idiom. One of the present article’s aims is an introduction of Bartók’s concepts into the Czecho-Slovak context. A major influence on Bartók’s employment of inspiring impulses from peasant music in piano composition was exerted by Edvard Grieg and his stylizations of Norwegian folklore in his Opp. 17, 66, and 72. Analytical studies comparing Grieg’s artistic devices employed there with Bartók’s stylizations of Slovak folk songs in his cycle For Children II, BB 53, Sz. 42, document these influences as well as Bartók’s radical departure from the aesthetic ideals musical Romanticism. Bartók’s concept of a “national” art, which was originaly carried on the crest of Hungarian nationalism, went through radical transformation under the influence of his study of “peasant music”. His goal came to be the revival and enrichment of European artistic music in the first half of the 20th century by drawing on eastern European folk music styles, something he eventually achieved in a most original, indeed unique way.

CS

Béla Bartók byl se Slovenskem propojen několika způsoby. Jeho matka pocházela z německé rodiny, která se usídlila v Prešpurské župě. Po předčasné smrti otce se spolu s matkou načas usídlili v Bratislavě, kde Bartók absolvoval studium na maďarském katolickém gymnáziu v Klariskách společně s Franzem Schmidtem, Ernö Dohnányim a Alexandrem Albrechtem. Na území Slovenska se v roce 1904 poprvé setkal s archaickou vrstvou tzv. „sedláckého folkloru“. Bartók je autorem vůbec nejrozsáhlejší sbírky slovenského folklorního materiálu Slovenské ľudové piesne zahrnující 3409 písní a 4000 písňových textů, která vzhledem ke své monumentálnosti mohla být vydána až po jeho smrti (v rozmezí 1959–2022). Východoevropský archaický folklor měl však především zásadní vliv na Bartókovu skladatelskou genezi. Umožnil mu osvobodit se od stereotypních metro-rytmických schémat a dur-molové tonality a disponovat svobodně každým tónem chromatického systému. V přednášce O vlivu sedlácké hudby na hudbu našich časů z roku 1931, která dosud nebyla publikovaná ani v českém ani ve slovenském jazyce, Bartók definuje pojem „sedlácká hudba“ a poukazuje na tři možné způsoby využití jejích podnětů ve skladatelské praxi od stylizací až po úplnou absorpci jejích podnětů v individuálním kompozičním jazyku skladatele. Jedním z cílů tohoto článku je transfer Bartókových idejí do česko-slovenského prostředí. Významný vliv při zpracování podnětů sedlácké hudby v oblasti klavírní hudby měl na Bartóka Edvard Grieg a jeho stylizace norského folkloru v op. 17, 66 a 72. Porovnávací analýzy Griegových uměleckých zpracování s Bartókovými stylizacemi slovenských lidových písní v cyklu Pro děti II, BB 53, Sz. 42 dokumentují tyto vlivy, jakož i Bartókův radikální rozchod s estetickými ideály hudebního romantismu. Bartókův koncept „národního“ umění, který se původně nesl v duchu maďarského nacionalismu, se pod vlivem studia „sedlácké hudby“ radikálně transformoval. Jeho záměrem byla obroda a obohacení evropské umělecké hudby 1. poloviny 20. století na základě využití východoevropských stylů lidové hudby, což se mu podařilo originálním a jedinečným způsobem.