Wyniki wyszukiwania - Biblioteka Nauki

1

Napłakać się z Chopinem. Stefana Witwickiego śpiew przez łzy

100%

Łoboz M.

|

nr 7(10)

363-379

EN

The article focuses on the artistic collaboration of the Romantic poet Stefan Witwicki with Frederic Chopin. Chopin’s compositions called Polish Songs (op.74) are the most noteworthy example of the correspondence of music and literature in Polish Romanticism. The first seven songs inspired by Witwicki’s lyrics were created between 1828 and 1831 (the composer, however, had never played them during his concerts). The fact that Chopin’s songs combine both the sentimental and the insurgent tradition is essential for the understanding of the compositions. The interpretation of the selected poems of Witwicki shows that one can distinguish at least three types of nostalgia present in his works. They are as follows: nostalgic love, the nostalgic feeling connected with the collapse of the November Uprising and nostalgia caused by parting with family. It was observed that Chopin and Witwicki easily succumbed to the feeling of nostalgia. Witwicki dedicated his Pastoral Songs to Chopin in 1830 and the composer began to write music for ten of Witwicki’s songs. His first composition was called The Wish. After leaving Warsaw, Chopin continued his work and composed A Fickle Maid, The Messenger, The Warrior, Drinking Song, Witchcraft. Other songs such as Troubled Waters, The Bridesgroom Return, The Ring, and Spring were written in Paris in the years 1838 – 1840. Witwicki’s death in 1847 came as a great shock for Chopin, he often complained about his loneliness. The close relationship of Chopin and Witwicki manifested itself not only in their artistic collaboration but also in their private lives.

2

Patent na piosenki. Wincentego Pola śpiew nie tylko z mogiły

100%

Łoboz M.

|

tom 18

3-18

RU

This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.

EN

This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.

DE

This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.

3

Zakryte Zaryte, czyli zakopiańszczyzna na styku kultur. Dygresje na marginesie lektury Witkacego

100%

Łoboz M.

|

tom 10

187-195

EN

The article is an attempt to describe the cultural phenomenon of Zakopane in the early 20th century on the basis of Witkacy’s Pożegnanie jesieni [Farewell to Autumn]. In the dynamic and multi-layered plot of his novel Witkacy, emotionally involved but also with his usual sarcastic and critical distance, presents a collection of characters who make up a collective model of a specific group of residents of Zakopane set against the background of a clearly defined mountain space (the action of the novel takes place in Zakopane). The key motifs of the novel correspond to the narcotic Zakopane demonism — a style characteristic of the Zakopane culture at the turn of the centuries and using the legend and creative capital of the Young Poland movement in the Tatras. An important plane bringing together the protagonists’ sentimental sublimations in the novel is music as a universal form of art, using the power of sound, i.e. communication tool available to all sensitive recipients. Two protagonists compose and perform it (Żelisław Smorki and Prince Azalin Prepudrech), others listen to it. Smorski is a pupil of Karol Szymanowski (who lived in Zakopane at the time); the name of the composer recurs several times, which testifies to the author’s intention to make his literary fiction credible. The model of the protagonists’ pianistic interpretation also draws on the virtuoso method of Egon Petri, who in the inter-war period ran his own piano school in Zakopane.

4

Wyjaśni się lub nie wyjaśni... Józefa Ignacego Kraszewskiego tatrzańska meteorologia

100%

Łoboz M.

|

2012

|

tom 6

29-39

EN

The article is an attempt to interpret Józef Ignacy Kraszewski’s novel Wielki nieznajomy [The Great Stranger], the plot of which includes reminiscences of the writer’s brief stay in Zakopane in 1866. The most interesting thread in the novel is a trip to the Tatras that is interrupted and put on hold by bad weather. The protagonists are impatiently waiting for it to improve, expressing their scepticism about holidaying in the Tatras. In the novel, Kraszewski ridicules and exposes pathological forms of behaviour of intellectuals in the mountains. All protagonists expected not only entertainment from the trip, but, first of all, extraordinary, ecstatic experiences. They were not wrong when, in Nowy Targ, enchanted by the sight of a mountain range stretching before their eyes on the horizon, they observed the sunset, presented by Kraszewski in the convention of a painting, emphasising the colourful palette of changing hues, turning gradually from bright to dark colours. It is the only bright episode in the entire trip to the Tatras. Rainy weather put Kraszewski himself off Zakopane, but by that time the writer had become such a well-known and respected figure that members of the Tatra Society decided in 1877 to commemorate this biographical episode of the author of Wielki nieznajomy by calling two rocks at the exit from the Kościelisko Valley (which the writer visited personally) the Kraszewski Gate and placing a commemorative plaque on the spot. The plaque was blessed on 14 August 1879 in the presence of members of the clergy and guests from all three partitioned parts of Poland.