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2 Kwartalnik Młodych Muzykologów UJ

2 2015

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Czy pianiści to również aktorzy, czyli kilka refleksji nad gestem w muzyce

100%

Bruliński M.

nr 3 (26)

44-56

Apart from the functional dimension, the pianist’s gesture, which cannot be compared to linguistic sign, is a medium of various meanings, therefore it plays an important role in the extraverbal proces of communication between the pianist and the audience during the piano recital. It is stated that the agreement between pianists, as representatives of airtight world of classical music, and a crowd of aesthetically open-minded people, lies in the sphere of body and gesture. The author outlines some proposals on how to define a musical gesture and how to examine it. It is proved that the gesture is a powerful tool in the pianist's hands and that the arsenal of emotionally-communicative gestures during the piano performance process is enormous. Immensely important in the gestural context is coherence and naturalness. There exists a contradiction between the reflections derived from the modern performance practice and the common knowledge of the majority of piano teachers, caused by numerous 'historical misunderstandings'. A brief study of selected gestural cases (Franz Liszt, Ignacy Jan Paderewski, Sviatoslav Richter, Emil Gilels, Lang Lang, Martha Argerich, Yuja Wang, Waldemar Malicki) was done.

Polski epizod w działalności artystycznej pianisty i kompozytora Josepha Woelfla

100%

Bogula E.

nr 2(25)

4-14

Joseph Woelfl, an Austrian pianist and composer, was born on 24th December 1773 in Salzburg, where he began his musical education. In 1790 he left his hometown for Vienna, most probably following Wolfgang Amadeus Mozart. He can't have stayed there long as in 1791 he was admitted for service at Prince Michał Kleofas Ogiński's estate, where he spent about fifteen months. Prince Ogiński is remembered in the history of music mainly as the master of the stylised polonaise. The short cooperation with Woelfl bore fruit in their artistic activities, as Prince Ogiński created his first stylised polonaises during that time. Similarly, Woelfl was inspired by Polish surroundings. During his stay in Warsaw he created Polonaise, which became part of his sonata, marked as Fw 7 by Margit Haider-Dechant in the Joseph Woelfl. Verzeichnis seiner Werke, which was probably performed during a public concert in the capital of the Polish-Lithuanian Commonwealth in 1792. The Polish dance must have made a great impression on the Austrian composer, as Polonaise in the form of a rondo reappeared in his musical output in the third movement of Piano Concerto No.1 op. 20, published in Paris nearly ten years later. Neither Joseph Woelfl nor above mentioned Piano Concerto op. 20 are currently popular in Poland. Thus, I would like to have a closer look at the piece, paying particular attention of the third movement Rondo a la Polonaise and at the same time referring to the mutual inspirations of the Austrian and Prince Michał Kleofas Ogiński.