Ludomir Michał Rogowski: sylwetka życia i twórczości
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Kraków
Akademia Muzyczna
2009
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 396 s., [8] s. tabl. il. (w tym kolor.). - Ill., Notenbeisp. 24 cm. |
| ISBN: | 9788387182854 |
Internformat
MARC
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Datensatz im Suchindex
| _version_ | 1804140816655974400 |
|---|---|
| adam_text | Spis
tresei
Wprowadzenie
..........................................
I. NA SZLAKU ŻYCIA
LUDOMIRA MICHAŁA
ROGOWSKIEGO ................. 14
W drodze do Dubrownika
.................................................... 14
Czas studiów: Warszawa, Lipsk, Monachium, Rzym, Paryż
......... 14
Udział w odrodzeniu artystycznym Wilna w latach
1908-1911....... 22
Działalność muzyczna w Warszawie w latach
1912-1914............. 41
Lata emigracji:
1914-1921...................................................... 42
Działalność muzyczna w Warszawie w latach
1921 -1926............. 49
W nowej ojczyźnie: Dubrownik
1926-1954........................ 58
II.
JĘZYK DŹWIĘKOWY
..................................................... 79
Ewolucja języka dźwiękowego
............................................ 82
Od Wariacji
Е
-dur
(przed
1910)
do suity
Villafranca
(1918).......... 82
Od
Fantasmagories
(1920)
do
Quatre Moments Lyriques
(1931-1936) ... 98
Od
II
Symfonii
{1936)
do
Morza
(1952)..................................... 113
Pomiędzy
sy
sternem skal a
tonalnoscią dur-moll
................ 141
„Naturalny system dźwiękowy
............................................... 141
Funkcje skali
....................................................................... 146
Skala jako materiał melodyczny
......................................... 146
Skala jako tworzywo harmoniczne
...................................... 147
Skala gwarantem nowoczesności?
....................................... 148
Wokół systemu dur-moll
........................................................ 150
Przejawy oddziaływania systemu dur-moll
............................ 150
Sposoby odchodzenia od systemu dur-moll
........................... 151
III. NURTY TWÓRCZOŚCI SYMFONICZNEJ
ROGOWSKIEGO............................................................. 153
Utwory programowe
............................................................ 153
Tytuł dzieła jako medium programowości
................................. 155
Idee programowe i ich muzyczna interpretacja
........................... 158
Natura
j ako
źródło inspiracj i
............................................. 158
W kręgu legend i mitów
.................................................. 167
Charaktery muzyczne
........................................................... 185
Forma w muzyce programowej
................................................ 188
Symfonie
-
w stronę muzyki czystej
.................................... 191
Proces autonomizacji symfonii
................................................ 191
Elementy programowości w symfoniach Ofiarnej i Radosnej
........ 193
Symphonie-Offrande
...................................................... 193
U Symfonia {Radosna)
..................................................... 201
Wybrane problemy formy i dramaturgii w symfoniach III-
VI
........ 210
III Symfonia
................................................................ 210
IV
Symfonia
................................................................ 218
Cinquième Symphonie
{V
Symfonia)
.................................. 227
Sixième Symphonie
(VI
Symfonia)
...................................... 238
Instrumentaçja
..................................................................... 247
Wobec tradycji gatunku
......................................................... 254
IV.
IDEA MUZYKI NARODOWEJ
W TWÓRCZOŚCI
ROGOWSKIEGO............................ 257
Program muzyki narodowej w pismach
Rogowskiego........ 257
W opozycj i do kosmopolitycznego programu Młodej Polski
......... 257
Udział
Rogowskiego
w dyskusji o muzyce narodowej
w dwudziestoleciu międzywojennym
....................................... 271
O polskość naszej kultury muzycznej
.................................. 271
Koncepcja własna muzyki narodowej
.................................. 280
Kategoria narodowości w muzyce
Rogowskiego................ 294
Folklor
j ako
medium wyrażaj ące kategorię narodowości
............. 294
Wierzenia i obrzędy Słowian
............................................ 294
Sposoby funkcjonowania folkloru muzycznego
...................... 298
Inne media narodowości w muzyce
......................................... 307
V.
ROGOWSKI
W OCZACH KRYTYKI
........................... 313
Dwa warszawskie debiuty:
1914, 1921................................ 313
Na scenach i estradach koncertowych Warszawy
do roku
1926........................................................................ 321
Rok
1938:
tryumf po latach czy ostateczna klęska?
............ 333
Pozycja
Rogowskiego
w panoramie muzyki polskiej
według krytyki międzywojennej
.......................................... 339
Refleksje końcowe
........................................................................ 343
Wykaz utworów Ludomira Michała
Rogowskiego....................... 351
Pisma Ludomira Michała
Rogowskiego........................................ 368
Teksty opublikowane
................................................................. 368
Teksty nie wydane
..................................................................... 372
Bibliografia
................................................................................... 376
Książki
................................................................................... 376
Artykuły
.................................................................................. 376
Recenzje prasowe i wzmianki
...................................................... 378
Literatura cytowana
....................................................................... 381
IndeL· osób
........................................................................................ 385
Summary
........................................................................................... 391
Table of Contents ...............................................................................
394
Table
of
Contents
Introduction
I. ON THE PATH OF LIFE
OF
LUDOMIR MICHAŁ
ROGOWSKI......................... 14
Heading towards
Dubrovnik................................................
14
Studies: Warsaw, Leipzig, Munich, Rome, Paris
......................... 14
Taking part in the artistic rebirth of Vilnius in the years
1908-1911 22
Musical activity in Warsaw in the years
1912-1914..................... 41
Emigration:
1914-1921.......................................................... 42
Musical activity in Warsaw in the years
1921-1926..................... 49
A new homeland:
Dubrovnik
1926-1954............................. 58
II. MUSICAL LANGUAGE
................................................... 79
Evolution of musical language
............................................. 82
From Variations in
Е
-Major
(before
1910)
to Villqfranca suite
(1918) 82
From
Fantasmagories
(1920)
to
Quatre
Moments
Lyriques
(1931-1936) 98
From Symphony No.2 to More
(1952) ...................................... 113
Between the system of modes and
Maj or-Minor
tonality
.... 141
Natural tonal system
.......................................................... 141
Functions of modes
............................................................... 146
Mode as melodic material
................................................ 146
Mode as harmonic material
.............................................. 147
Is mode as a guarantee of modernity?
.................................. 148
Around Major-Minor system
.................................................. 150
Instances of the influence of Major-Minor system
.................... 150
Ways of moving away from the
Maj
or-Minor system
................ 151
394
III. ROGOWSKI S SYMPHONIC WORKS
153
Programmatic works
............................................................ 153
The work s title as a programmatic medium
.............................. 155
Programmatic ideas and their musical interpretation
................ 158
Nature as a source of inspiration
........................................ 158
Legends and myths
........................................................ 167
Musical characters
................................................................ 185
Form in program music
......................................................... 188
Symphonies
-
heading towards pure music
......................... 191
Symphony reaching its autonomy
............................................ 191
Programmatic elements in
Symphonie-Offrande
and in Joyful Symphony
.. 193
Symphonie-Offrande
...................................................... 193
Symphony No.2 (Joyful)
.................................................. 201
Some problems of form and dramatic effect in symphonies
Nos.
3,4,5
and
6. 210
Symphony No.
3 ........................................................... 210
Symphony No.
4 ........................................................... 218
Symphony No.
5 ........................................................... 227
Symphony No.
6 ........................................................... 238
Instrumentation
................................................................... 247
In the context of the genre s tradition
....................................... 254
IV. THE IDEA OF NATIONAL MUSIC
IN ROGOWSKI S WORKS
............................................. 257
The program of national music in
Rogowski
s
writings
...... 25 7
Opposing the cosmopolitan program ofthe Young Poland artistic movement
257
Rogowski s
contribution to the discussion on national music
in the interwar period
............................................................. 271
Postulating the Polish Character of our Musical Culture
........... 271
His own idea of national music
..........................................
^oU
Category of nationality in
Rogowski
s
music
..................... 294
Folklore as medium expressing the category of nationality
........... 294
Slavic beliefs and rituals
..................................................
zi~
Functioning of musical folklore
.........................................
¿
r1
Other media of nationality in music
......................................... 307
395
V.
ROGOWSKI IN
THE EYES OF CRITICS
.................... 313
Two Warsaw debuts:
1914, 1921.......................................... 313
Concerts and performances in Warsaw until
1926............... 321
The year
1938:
triumph or final defeat?
.............................. 333
Rogowski s position in the panorama of Polish music according
to critics of the interwar period
.................................................. 339
Final reflections
............................................................................ 343
Ludomir Michał
Rogowski:
The List of Works
................................... 351
Ludomir Michał
Rogowski:
Writings
................................................. 368
Published texts
......................................................................... 368
Unpublished texts
..................................................................... 372
Bibliography
.................................................................................. 376
Books
..................................................................................... 376
Articles
................................................................................... 376
Reviews and newspaper paragraphs
.............................................. 378
Works cited list
.............................................................................. 381
Index of Names
................................................................................... 385
Summary
........................................................................................... 391
Table of Contents
................................................................................ 394
396
Summary
Ludomir Michał
Rogowski.
A Profile of His Life and Works
When a few years ago the idea of writing this book began to emerge, the music of
Ludomir Michał
Rogowski (1881-1954)
belonged to the areas of Polish culture
awaiting to be rediscovered. The aim of this book was not only to present the works of
the composer, but also to get the readers acquainted with his fascinating biography.
The history of his life, reconstructed mainly on the basis of existing memoirs, constitu¬
tes the content of Chapter I. The composer, one year older than
Karol Szymanowski,
after graduating from the Warsaw Conservatory where he was a student of
Zygmunt
Noskowski, completed his studies travelling around Europe, hi the years
1908-1911
he
worked in Vilnius, contributing to the improvement of standards of musical culture
in the city. His greatest success was coorganisation of the Vilnius Philharmonic. Then
he moved to Warsaw and, in
1914,
to France. In Paris he gained popularity in aristocratic
circles, however fearing to be associated with a salon musician he went to the south of
France, to Villefranche
sur Mer.
He spent there over two years, which turned out to
be very prolific. During that period he completed a collection of aesthetical sketches
entitled
Muzyka przyszłości
[The music of the future]. In
1921, Rogowski
came back
to Warsaw and participated in the musical life of the reborn Polish state. In spite of
a considerable recognition he gained in the field, the decision to leave the country
emerged. At the end of
1926
he left Poland, as it later turned out, forever. He went
to live in
Dubrovnik,
where he remained until the end of his life, finding there peace
and fulfillment. There he composed several of his works, including five out of six
symphonies.
His symphonic music, singled out from an extremely rich and diverse
oeuvre
catalogued in detail at the end of the book, is the subject of study throughout the two
following chapters. Chapter II contains the analysis of his tonal language which had
three stages of development. Until
1918
functional tonality predominated, enriched by
modest attempts at the application of the whole tone scale. The second stage is defined
by
Muzyka przyszłości
(1919). Rogowski
presented there a list of modes which
-
together with
the already used Major and Minor scales
-
were to guarantee the revival of musical
language. Works composed right after
Muzyka przyszłości:
Fantasmagories
and
Sym¬
phonie-Offrande
are characterized by intensive use of modes and with evident we¬
akening of the influence of Major-Minor tonality, e.g. by the use of elliptical chords,
parallels, pedal points and
ostinato
structures. The third stage begins with Symphony
No.
2
{Joyful), composed in
1936,
where for the first time the composer used the Sla¬
vic mode that appeared in many of his later works.
Modes in the works of
Rogowski
function mainly in melody. Themes are either
entirely based on a material of a particular mode or they are coloured by the use
391
of one Harmony is often influenced by the whole tone scale, while the influence of
other modes is less evident. The characteristic accompaniment for mode melodies
is horizontal, exposing a fixed sound, usually an elliptical structure, often with layered
texture. Another type of accompaniment is connected with melodies developed within
the Major-Minor tonal system. As the highest voice in harmonic structure, the melody
acquires its counterbalance in the lowest voice. Both outlines are meticulously shaped,
with the prevalence of steps and contrary motion, respecting the rules of disso¬
nance resolution. Sequencing of fragments that presents both types of texture often
becomes the basis for the organization of form.
In Chapter III symphonic works of
Rogowski
are divided into two categories:
programmatic works and
autonomie
symphonies. The basic medium of program is
the title of the work, while in the sphere of inspiration we can distinguish two sources:
fascination with nature and the sphere of myths and legends. Inspiration from nature
developed out of personal experience of the composer in Villefranche
sur Mer
and in
Dubrovnik.
Among the myths and legends serving as a source of inspiration were: ancient
Greek tradition (Cortege
de Dionysos),
chosen motifs taken from Arthurian cycle
(Legenda
celtycka
[Celtic legend]), Hindu gods
(Fantasmagories),
and Polish folk
tradition
(Zjawy. Siedem
legend
polskich
[Apparitions. Seven Polish Legends]).
Rogowski
composed six symphonies. The two initial ones have programmatic re¬
ferences. The four remaining ones, devoid of those influences, prove that the composer
was in fact interested in great instrumental forms, even though he regarded them as
contrary to Slavic nature. Particular parts of the cycle are constructed on the basis of
ordering segments. As a consequence, non-schematic, often highly fragmented
structures with rondo-like, refrain features appear, however the tendency to enclose the
sequence within a symmetrical frame is explicit. The model of Rogowski s symphonies,
which can be described as a suite symphony, developed outside the rejected
German symphonic tradition, disregards the fundamental sonata-allegro form. However,
it preserves expressive autonomy of particular components of the cycle.
Chapter IV begins with a reconstruction of Rogowski s views on the issue of
national music. Already in
1914
the composer postulated a search for individual natu¬
re of Polish music by purifying it from German influences and by the use of folk songs
as source of inspiration. In
1930s,
new elements appeared in his deliberations: motifs
emphasizing eastern provenance of Polish culture and the idea of a Slavic mode ,
which, in terms of its intervallic structure, is identical with the
Podhalan
mode. The
name of the mode indicates the composer s belief in cultural unity of Slavic peoples.
According to the basic tenets of Rogowski s theory, the most important medium
expressing the category of nationality in his music was folklore, understood as
spiritual culture of particular peoples. Slavic beliefs and rituals were reflected in the
programs of his first two symphonies, in ballets
Kupala
and
Korowaj
and in the cycle
Wizje pogańskie
[Pagan visions]. Musical folklore functions in many ways: in quotations,
in melodies composed so as to resemble their authentic folk counterparts, or in the
use of folk dance rhythms. From
1936,
the main carrier of the national category in
Rogowski s music was Slavic mode. The attempt at bringing it out through archaic
folklore features resulted in the refreshment of melody, but it did not become a starting
point for innovative ideas concerning rhythm, harmony or texture.
392
Chapter V treats about the way
Rogowski was
perceived by Polish critics in the
years
1914-1938.
His debut in
1914
was well received, but the interest in his music could
not be maintained because
Rogowski
left Poland for seven years. After his return, as
a forty year old man he was forced to make another debut He was again intriguing,
due to the originality of sounds inspired by Eastern culture. However, his reputation
was eroded by the premiere of his ballet
Bajka
in
1923,
while the performance of his
Symfonia radosna
[Joyful symphony]
15
years later contributed to the strengthening
of general belief that he did not meet the earlier expectations.
In the panorama of Polish music of the first half of the 20th century,
Rogowski
holds a particular position. He did not belong to the conservative post Romanticist
movement nor to the trend which was an expression of progressive neoclassicist ten¬
dencies. He was an outsider who remained indifferent to tendencies prevailing in his
times, and who did not manage to inspire resonance in the composers of younger
generations
-
neither with his aesthetic views nor with his works.
Translated by Natalia Szymaszek
393
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| id | DE-604.BV035846037 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T22:05:59Z |
| institution | BVB |
| isbn | 9788387182854 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-018704222 |
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| publishDateSort | 2009 |
| publisher | Akademia Muzyczna |
| record_format | marc |
| spelling | Wójtowicz, Ewa Verfasser (DE-588)1266523030 aut Ludomir Michał Rogowski sylwetka życia i twórczości Ewa Wójtowicz Kraków Akademia Muzyczna 2009 396 s., [8] s. tabl. il. (w tym kolor.). - Ill., Notenbeisp. 24 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Rogowski, Ludomir Michał 1881-1954 (DE-588)103940030 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Rogowski, Ludomir Michał 1881-1954 (DE-588)103940030 p DE-604 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018704222&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018704222&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Wójtowicz, Ewa Ludomir Michał Rogowski sylwetka życia i twórczości Rogowski, Ludomir Michał 1881-1954 (DE-588)103940030 gnd |
| subject_GND | (DE-588)103940030 (DE-588)4006804-3 |
| title | Ludomir Michał Rogowski sylwetka życia i twórczości |
| title_auth | Ludomir Michał Rogowski sylwetka życia i twórczości |
| title_exact_search | Ludomir Michał Rogowski sylwetka życia i twórczości |
| title_full | Ludomir Michał Rogowski sylwetka życia i twórczości Ewa Wójtowicz |
| title_fullStr | Ludomir Michał Rogowski sylwetka życia i twórczości Ewa Wójtowicz |
| title_full_unstemmed | Ludomir Michał Rogowski sylwetka życia i twórczości Ewa Wójtowicz |
| title_short | Ludomir Michał Rogowski |
| title_sort | ludomir michal rogowski sylwetka zycia i tworczosci |
| title_sub | sylwetka życia i twórczości |
| topic | Rogowski, Ludomir Michał 1881-1954 (DE-588)103940030 gnd |
| topic_facet | Rogowski, Ludomir Michał 1881-1954 Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018704222&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018704222&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT wojtowiczewa ludomirmichałrogowskisylwetkazyciaitworczosci |