Między romantyzmem a modernizmem: twórczość kompozytorska Ignacego Jana Paderewskiego
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Polish |
| Published: |
Wrocław
Wydawn. Uniw. Wrocławskiego
2010
|
| Series: | Acta Universitatis Wratislaviensis
3215 Musicologica Wratislaviensia 5 |
| Subjects: | |
| Online Access: | Abstract Inhaltsverzeichnis |
| Item Description: | Zsfassung in engl. Sprache u.d.T.: Between romanticism and modernism |
| Physical Description: | 267 s. il. - Notenbeisp. 24 cm. |
| ISBN: | 9788322931134 |
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Spis
tresei
Wprowadzenie
. 9
Wykaz skrótów
. 10
Rozdział I
·
Zagadnienia wstępne
.
li
1.
Postawienie problemów
. 11
1.1.
Dzieło i twórczość
. 11
1.2.
Między romantyzmem a modernizmem (kontekst historiozoficzny)
. 14
1.3.
Paroles
—
Ungue (kontekst stylokrytyczny)
. 16
1.4.
Społeczno-narodowy wymiar twórczości (kontekst funkcjonalny)
. 17
2.
Charakterystyka źródeł
. 18
3.
Stan badań
. 19
4.
Periodyzacja twórczości
. 25
Rozdział
II
·
Wczesna twórczość romantyczna:
między historyzmem a folkloryzmem
( 1876-1884). 31
1.
Kompozytorska wykładnia historyzmu naiwnego
. 31
2.
Od salonowej konwencji do liryki osobistej
-
wczesna miniatura instrumentalna
. 39
3.
Folklor w duchu narodowym: Tańce polskie
(Danses polonaises) op.
5
i
op.
9. 43
4.
Cztery pieśni
{Vier Lieder)
op.
7 -
w kręgu chopinowsko-moniuszkowskiej tradycji
. 49
5.
Wokół romantycznej topiki
-
między Schumannowskim
Charakterstück
a Lisztowskq progra-
mowością
. 58
6.
Studium pianistyki i pierwsza realizacja idei
romantisches Hauptwerk -
Wariacje i fuga a-moll
(Variations
et
fugue
a-moll)
op.
11. 67
7.
Między folklorem źródłowym a salonową stylizacją. Folklor w duchu narodowym czy salono¬
wa
musique orientale?
Album tatrzańskie
(Tatra-Album)
op.
12 . 70
8.
W okowach berlińskiego akademizmu
-
utwory kameralne i orkiestrowe
. 86
Rozdział III
·
Dojrzała twórczość romantyczna
( 1884-1896). 93
1.
Historycystyczna retrospekcja i relatywizacja czy styl neoklasyczny? Humoreski koncertowe
(Humoresques de concert) op.
14. 93
2.
Integracja struktury i redukcja środków wyrazu w formie narracyjno-lirycznej
-
Miscellanea.
Série de morceaux pour piano op.
16,
Canzona
. 100
2.1.
Legenda
As-dur,
Legenda
A-dur
—
proza muzyczna w szacie formy liryczno-narracyjnej
101
2.2.
Melodia Ges-dur, Nokturn B-dur,
Canzona
-
apogeum liryki instrumentalnej
. 104
2.3.
Wariacje
A-dur {Thème Varié) op.
16 . 108
2.4.
Moment musical
As-dur, Menuet A-dur
. 110
3.
Wzorzec narodowo-uniwersalistyczny wielkiej formy cyklicznej
. 110
3.1.
Wirtuozostwo esencjalne
-
Sonata
a-moll
op.
13. 111
3.2.
Koncert fortepianowy
a-moll
(Concerto en U-mineur)
op.
17 -
Schumannowskie pendant?
114
3.3.
Koncert skrzypcowy
g-moll
(szkice)
. 118
8
SPIS TREŚCI
3.4.
Fantazja polska na tematy własne gis-moll
(Fantaisie
polonaise
surdes
themes
originaux
pour piano
et orchestre) op.
19 -
apologia
polskiego folkloru
. 122
4.
Romantyczne inspiracje modernistycznego przełomu
. 127
4.1.
Sześć'pieśni na głos z fortepianem op.
18. 127
4.2.
Dans le désert. Tableau musical en forme d'une toccata op.
15. 135
Rozdział
IV
·
Polaryzacja stylistyczna w obliczu tendencji modernistycznych
(1893-1909).
ні
1.
Manru.
Lyrisches
Drama
op.
20. 141
1.1.
Od
Manolo
do Manru
-
geneza.
142
1.2.
Pierwowzór literacki a libretto Alfreda Nossiga
-
aspekt strukturalny i ideowy
. 145
1.3.
Dramat symboliczny i „metoda Wagnera"
. 153
1.4.
Syntetyzm, ekiektyzm czy dezintegracja stylistyczna?
. 157
1.5.
Koncepcja Manru w świetle obcych poetyk
. 159
1.6.
Manru jako odzwierciedlenie tożsamości twórcy
. 163
2.
W nurcie niemieckiego modernizmu
-
Sonata es-moll
(Sonate
es-moll) op.
21,
Wariacje i fuga
es-moll
(Variations et
fugue es-moll)
op.
23. 164
3.
Chansons
à la française
czy twórczy dialog z francuskim symbolizmem
-
Douze Mélodies
op.
22
i
Dans la forêt
do słów
T. Gautiera
. 174
3.1.
Dans h forêt
-
romantyczne korzenie symbolizmu
. 174
3.2.
Douze Mélodies op.
22 -
„zaślubiny miłości i śmierci"
. 178
4.
In
memoriam
-
sursum
corda:
Symfonia
h-moll
„Polonia"
(Symphonie
h-moll)
op.
24. 193
4.1.
Sekwencjonizm kumulatywny
. 198
4.2.
Autonomiczny proces formalny a symbolika semantycznego kodu
. 199
4.3.
Sprzeciw wobec tyranii i manifest jedności
-
kontekst stylokrytyczny
. 206
Rozdział
V
·
Zagadnienia estetyczne
. 210
1.
Poglądy na temat sztuki jako przejaw estetyki eksplikowanej
. 210
2.
Repertuar koncertowy
-
wyraz estetyki implikowanej
. 221
3.
Estetyka twórczości
. 224
3.1.
Wartość estetyczna
. 224
a. Rozjemcza pozycja wobec „wojny romantyków" czy niezreflektowany ekiektyzm?
. 224
b. Interioryzacja poetyki F. Chopina
-
funkcja symbolu oraz
substrat
stylu indywidual¬
nego
. 226
3.2.
Między wartością autonomiczną a funkcjonalną
. 227
a. Narodowość
-
uniwersalizm
. 227
b. Romantyczny indywidualizm a powszechny nurt muzyki salonowej
. 230
3.3.
Wartość historyczna
-
znaczenie twórczości
. 233
Aneks
. 236
Bibliografia
. 246
Summary
. 254
Spis przykładów muzycznych oraz ilustracji
. 259
Indeks nazwisk
. 263
Between Romanticism
and Modernism
Ignacy
Jan Paderewski's
compositional
oeuvre
Summary
The present work is the first monograph of
Ignacy
Jan Paderewski as a composer that includes
an analysis and interpretation carried out in two basic contexts:
(1)
formal-structural and stylistically
critical, and
(2)
aesthetic. The fact that the author includes among his sources not only works with
opus numbers but also works not incorporated into the Paderewski catalogue as well as sketches,
unfinished pieces and student exercises, revises the image of the composer of Polish Fantasia distorted
in the historical reception of his
oeuvre.
Despite the fact that some of Paderewski's works are not
a significant testimony to the evolution of his own sound language or do not have any significant
values in general, such a broad source base satisfies the need for ontological completeness, according
to which artistic
oeuvre
is not so much a set of compositions but, first of all, an integrated structure
that goes beyond the representative works. Although the part of Paderewski's compositional legacy
discovered in the last decades of the 20th century does not contain works that substantially redefine the
image of the composer's
oeuvre,
it is often an important document, giving us an insight into its nature.
The analysis of musical texts excludes detailed comparisons of sources (affiliations between surviving
musical sources) and their evaluation, because the author's research was based on the Complete Works
regarded as a critical edition. Given the basic questions of style and aesthetics, the editorial commen¬
tary, which presents the variants of texts in cultural circulation, seems to constitute a sufficient basis
for the issues examined in the present book. The works not included in the edition mentioned above
as well as incomplete works and sketches were examined on the basis of its original material form (this
concerns the first editions {Symphony in
В
minor,
"Polonia",
Op.
24)
or manuscripts (eg of
Mannt
and Violin Concerto)).
In Chapter
1,
INTRODUCTORY NOTES,
the author constructs a trichotomous perspective for an interpretation of Paderewski's
oeuvre,
follow¬
ing Carl Dahlhaus and the "three dimensions of history": temporal from the diachronic and
synchronie
point of view, social and national. In the historiosophical perspective, Romanticism, from which grew
Paderewski's
oeuvre,
can even be treated as a separate supra-stylistic category. Evolving at the turn of
the 19th and"20th centuries, and drawing on the still vivid Romantic and Neo-Romantic ideas but at the
same time strong positivistic and realistic tendencies in art, the composer's
oeuvre
also reflects two
summary
255
opposing categories: on the one hand, repeating syntactic-formal patterns and on the other
-
attempt¬
ing to achieve an individual, unique message. Paderewski is regarded as a transition period composer,
though much closer to the post-January Uprising generation that to the Young Poland generation.
The inner pulse of Polish musical culture, which turned to European art in search of the best means of
expression for its own needs and character, is reflected in the works of the author of Polish Fantasia as
an attempt to reconcile the universal style of the period with the national Chopinian tradition.
However, the composer was unable to cope with this burden of the distance of many years be¬
tween Polish music and European musical culture, a fact that can be seen in the internal split of his
oeuvre, ie
taking over the "foreign" poetics of French and German Modernism, while cultivating the
Romantic lyrical miniature. This split into the functional and the autonomous in his
oeuvre,
at a time
when the link between salon music and its original institutional base was slight, is axiological: lyrical
miniatures, both in the national and historical spirit, were increasingly identified with mass culture
and were also addressed to a wider public. This ethical aspect of the artistic
oeuvre,
uniting the na¬
tional spirit,
oeuvre
that draws on the tradition represented by Chopin's music and is supported by
historicising elements that elevate this tradition, does not eliminate the ethically dubious aspect of the
trivialisation of those historical-national
topoi
happening through changes in the original contexts of
Chopin's expressive idioms and their reduction to sentiment and pathos. The career of a 19th century
virtuoso pianist
-
virtuoso composer undoubtedly made a big impact of this part of his
oeuvre.
Artists
with a similar profile would typically create the artistic reality mainly through the so-called repertoire
reality in salons and on big stages, an approach that reduced the horizons of artistic expression to re¬
strained modernity. This repertoire reality, at the time distanced from the latest trends in composition
and governed by popular taste, was based primarily on the Romantic repertoire.
Chapter
2.
EARLY ROMANTIC WORKS:
BETWEEN HISTORICISM AND FOLKLORISM
(1876-1884)
covers the first phase in Pa¬
derewski's work as a composer. When studying at the Musical Institute in Warsaw, the young com¬
poser focused almost exclusively on piano pieces in the
folkloris
tic-national spirit and worked on
counterpoint techniques in the spirit of Romantic historicism. The first group of works includes
miniatures, which, in addition to numerous technical shortcomings, are characterised by attempts
to imitate Chopin's style. These references are characterised by improvisational freedom and overt
reproduction of Chopin's motifs or even longer phrases derived from various forms. In Paderewski's
version, historicism is marked by certain abstract historicity, characterised by the use of achaisation
tools which were never applied in this manner in the past (eg Old Suite Op.
3),
and by the adaptation
of historical techniques to expression and lyrical miniature (Suite, Op.
1).
Yet in the same period the
composer also wrote more original works, such as Elegy, Op.
4,
inspired by a tragic event from the
composer's life, or Polish Dances, Op.
5.
The next stage in his studies
-
in Berlin, under the guidance of
Friedrich
Kiel and
Heinrich
Urban
-
marks the second sub-period in his work, characterised by a tendency to make the musical
language more universal owing to studies of chamber and orchestral music genres and by attempts to
reconcile Schumann's lyricism with Liszt's programmatic approach and Chopin's national idiom in
instrumental miniatures. The references to the music of Robert Schumann focus on the instrumental
miniature and the piano concerto. The genre that manifests itself most strongly in Paderewski's work
is the so-called
Hausmusik
fur cognoscenti (ie music of high artistic value that combines salon music
and works to be performed in a domestic context), though in this genre too the composer oscillates in
his references to other works between elevation and trivialisation. Paderewski's references to Chopin's
oeuvre
are an expression of traditionalism according to which Chopin was admired not so much as
a distinguished exponent of Romanticism but rather as an artist who expressed the timeless idea of
Polishness, of nationality. The innumerable Chopinian reminiscences, the fact that Chopin's works
featured, proportionally, most frequently in the programmes of Paderewski's performances, were an
256
SUMMARY
attempt to maintain the relevance of Chopin's style combined with a reverential approach to tradition.
This attempt naturally leads to interpretations of Chopin's style in the spirit of specific colouring, ef¬
fect, reduction or transformation of aesthetic ideas; Chopin's lyrical idiom becomes sentimental, his
dramatic idiom
-
monumental and exalted; the archaism and folklorism of Chopin's music become
generally idealised, especially in Paderewski's mazurkas. The most original seem to be the dances
from the
Tatra
Album where the folkloristic tradition brings new inspirations, not so much when it
comes to the originality of the musical setting, but rather the use of previously unexplored musical
material in the form of original melodies from the
Podhale
region. Paderewski's admiration for Liszt
is not closely connected with an imitation of his creative approach in a deeper sense, though there
are many elements suggesting inspiration by the music and artistic attitude of the author of Dante
Symphony. These elements are a reference less to the ideological attitude than to the technical and
compositional layer. Though Liszt's programmatic approach leaves its mark already in the first phase
of Paderewski's work, it soon gives way to Schumannian-Chopinian dance and lyrical miniature only
to return in the modernist phase in the
"Polonia"
Symphony. In later works {Sonata in
E
flat minor,
Variations in
E
flat minor, Manru) the clear influences of the New German School define one of the
two idioms of Modernism in Paderewski's work, referred to as the idiom of German Modernism.
Mastering the compositional technique for writing for a chamber ensemble and orchestra crowns this
phase of Paderewski's studies and opens up prospects for the composer with aspirations higher than
that of a composer-virtuoso.
Chapter
3.
MATURE ROMANTIC WORKS
(1884-1896)
-
this next phase in Paderewski's work, the beginning of which slightly anticipates his Paris debut
and the start of his career as a virtuoso, is marked by the development of lyrical miniature forms. The
"naïve
historism" of the first phase, characterised by an abstract idea of the purity of the old style (Old
Suite, Op.
3)
and amalgamation of means stemming from different traditions and epochs, is giving way
to critical historism. In their very title Humoresqu.es
de
concert, Op.
14,
testify to the distancing from
the "historical guise" and hence cannot be classified strictly as stylistic copies. Despite some external
features of retrospective historism, the aim of which was to revive the "old style", they are neverthe¬
less evidence of relativising historism, a fact that can be seen in the already mentioned distancing from
stylistic copies, suggested by the work's title, and in the juxtaposition of three
à l'antique
miniatures
with three subsequent
moderne
miniatures. Paderewski's mastery of the "props" of the antique style
encouraged him on some occasions to treat them as elements of Romantic
stylisation
and on others
-
to imitate the style of old masters. Given the lack of historical-musical awareness of his listeners at
the time, this playing with historical convention did not always reconcile the listeners' interpretation
with the composer's intentions.
At the same time we can distinguish a parallel thread in his work
-
large cycle form with national-
universalist features. From this moment on we can observe the crystallisation of the dichotomous
nature of Paderewski's
oeuvre, on
the one hand
-
works representative for the image of Paderewski
the composer, and on the other
-
of miniatures reflecting the public demand, created by Paderewski
the Romantic virtuoso. Sonata in A minor, Op.
13,
Piano Concerto, Op.
17,
Polish Fantasia, Op.
19,
and even sketches to the unfinished Violin Concerto testify to Paderewski's mastery of compositional
technique in the Romantic style with national-universalist features. Following the Romantic tradition,
the finales of these works are imbued with an element of stylised folk music, while Polish Fantasia is
entirely based on an imagined folklore
stylisation.
The clear inspirations coming from the composer's
favourite Hungarian Rhapsodies by Liszt, present especially in Polish Fantasia, with the concurrent
inspiration by Chopinian-Schumannian poetics influence the unique expression of the nationality of
these works. Despite their manifested national character, they are marked by a certain tendency to
treat folklore in the spirit of exoticism with some traits of Gypsy music, a fact confirmed by the initial
theme of Polish Fantasia and Violin Sonata.
SUMMARY
257
Chapter
4.
STYLISTIC POLARISATION IN THE FACE OF MODERNIST TENDENCIES
(1893-1909)
The last phase of Paderewski's work as a composer, phase marked by clashes between types of
expression stemming from radically different artistic worldviews, brings the most mature works not
only from the point of view of a "synchronisation" of techniques and style with the music of European
Modernism of the time, but also because of the value of the individual message. In this last period
the composer seemed to be looking to European
oeuvres
for the best model for various genres. The
stylistic coherence thus gave way to the language of dialects of each of Paderewski's works. The move
towards musical Modernism was taking place mainly through the assimilation of the aesthetics and
compositional technique of the New German School (Sonata in
E
flat minor, Op.
21,
Variations in
E
flat minor, Op.
23,
lyric drama
Мати,
Symphony in
В
minor,
'Polonia")
and French symbolism
(Douze Mélodies,
Op.
22).
The division into periods applied to Paderewski's
oeuvre
in the present book distinguishes two
main periods marked by a stylistic breakthrough in his compositions with opus numbers. The first
period can be distinguished owing to the axiological aspect of the development of the compositional
technique and freedom of artistic expression that in the dance miniatures goes from stylised forms
towards overcomposed dance poems, and in the historical works
-
from unconsciously combined
elements of the musical perfectum and praesens of Old Suite, Op.
3,
to the relativising historism in
Humoresques, Op.
14.
The division according to this axiological criterion
-
division that can in fact
be regarded as relative- corresponds to the division according to the historical-biographical criterion.
Paderewski's sharp sense of observation of what was vibrant in European music was combined with
a lack of visible response to historic breakthroughs. In his
12
Songs
(1903)
the composer already be¬
comes part of the vibrant Modernist movement, while the piano miniatures still have their roots in the
aura of Romanticism. The Songs and Symphony that crown Paderewski's
oeuvre
are an apogee of his
stylistic dilemma. Except for the variation cycles, none of the large forms can be said to be a creative
continuation of its genre.
Paderewski's elusive and heterogeneous stylistic idiom can be perceived as an excessive immer¬
sion in foreign poetics, not always done in a manner generalised enough not to manifest specific
references in terms of reminiscences, borrowings and mannerisms. Therefore, in the historical con¬
text there are doubts as to the progressive, Modernist nature of Paderewski's
oeuvre,
which uses the
principle of drawing on foreign style treated as a "common resource" and thus becomes part of new
trends in art, though only with limited independence and originality. Paderewski's artistic formation
brings him closer to two artists that made their mark on his biography as well: Johannes Brahms and
Camille Saint-Saëns.
It generates numerous aesthetic and technical-compositional analogies and even
certain similar biographical features all the more important because they did not stem from an overt
imitation but signalled, in a way, similar artistic reactions to historic breakthroughs in art. The ability
to combine borrowed elements was one of the reasons why Paderewski and
Saint-Saëns
were sur¬
rounded primarily by admirers of their art and much less so by their followers of students. What brings
Paderewski's work closer to Brahms' music is historicising tendencies, cultivation of the late Romantic
piano miniature, and certain
textural
and macroformal properties of the compositions. However, the
microformal
structuralism and certain expressive self-restraint, this
"hinaus
empfinded" of the author
of German Requiem were very different from Paderewski's aesthetics. Paderewski used the pragmatic
value of borrowing a little from the achievements of the opposing parties of absolute and programme
music to create something new
-
national music.
Chapter
5.
AESTHETIC ISSUES
The present author concludes with a definition of the aesthetics of Paderewski's
oeuvre, tafang
into account the characteristics of a broadly defined artistic attitude, both explicit (numerous opin¬
ions, views, judgements expressed in correspondence, speeches and diaries) and implicitly contained
258
summary
in aesthetic preferences, including, especially, the evolution of his own concert repertoire. The issue of
aesthetics is presented according to the category of musical poetics especially important for European
musical culture of the period and for the composer himself, with regard to historical, functional and
aesthetic values and judgements. In the context of source studies and sound recordings of various
works, the present book is to be part of the process of restoring Paderewski's compositional legacy to
Polish musical culture, legacy that so far has not been
-
it seems
-
properly evaluated. When analysing
the value of this legacy, the author chose as his main category the "significance of the work". As the
author discovered the values that defined Paderewski's place in Polish, European and world culture,
it turned out that a number of these values had been eroded as a result of the changes in historical
value judgements. This refers especially to aesthetic values and judgements, based on the dynamically
changing trends in functional music, especially salon music, in the national and historicising spirit. The
extra-musical, functional nature of this source of values that were identified in Paderewski's
oeuvre
at
the time, was undoubtedly much broader than it is now. Hence the firm conviction that with time the
legend surrounding the great Pole has been less and less rooted in the knowledge of his works. Many
artistic values have undoubtedly survived, testifying to the importance of this
oeuvre. |
| any_adam_object | 1 |
| author | Raba, Bogusław |
| author_facet | Raba, Bogusław |
| author_role | aut |
| author_sort | Raba, Bogusław |
| author_variant | b r br |
| building | Verbundindex |
| bvnumber | BV036715193 |
| ctrlnum | (OCoLC)699659445 (DE-599)BVBBV036715193 |
| format | Book |
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| id | DE-604.BV036715193 |
| illustrated | Illustrated |
| indexdate | 2024-07-20T04:02:20Z |
| institution | BVB |
| isbn | 9788322931134 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-020633192 |
| oclc_num | 699659445 |
| open_access_boolean | |
| owner | DE-12 DE-29 |
| owner_facet | DE-12 DE-29 |
| physical | 267 s. il. - Notenbeisp. 24 cm. |
| publishDate | 2010 |
| publishDateSearch | 2010 |
| publishDateSort | 2010 |
| publisher | Wydawn. Uniw. Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis Musicologica Wratislaviensia |
| series2 | Acta Universitatis Wratislaviensis Musicologica Wratislaviensia |
| spelling | Raba, Bogusław Verfasser aut Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego Bogusław Raba Wrocław Wydawn. Uniw. Wrocławskiego 2010 267 s. il. - Notenbeisp. 24 cm. txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis 3215 Musicologica Wratislaviensia 5 Zsfassung in engl. Sprache u.d.T.: Between romanticism and modernism Paderewski, Ignacy Jan 1860-1941 (DE-588)118986724 gnd rswk-swf Komposition Musik (DE-588)4133320-2 gnd rswk-swf Paderewski, Ignacy Jan 1860-1941 (DE-588)118986724 p Komposition Musik (DE-588)4133320-2 s DE-604 Acta Universitatis Wratislaviensis 3215 (DE-604)BV004668106 3215 Musicologica Wratislaviensia 5 (DE-604)BV021678264 5 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020633192&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020633192&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Raba, Bogusław Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego Acta Universitatis Wratislaviensis Musicologica Wratislaviensia Paderewski, Ignacy Jan 1860-1941 (DE-588)118986724 gnd Komposition Musik (DE-588)4133320-2 gnd |
| subject_GND | (DE-588)118986724 (DE-588)4133320-2 |
| title | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego |
| title_auth | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego |
| title_exact_search | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego |
| title_full | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego Bogusław Raba |
| title_fullStr | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego Bogusław Raba |
| title_full_unstemmed | Między romantyzmem a modernizmem twórczość kompozytorska Ignacego Jana Paderewskiego Bogusław Raba |
| title_short | Między romantyzmem a modernizmem |
| title_sort | miedzy romantyzmem a modernizmem tworczosc kompozytorska ignacego jana paderewskiego |
| title_sub | twórczość kompozytorska Ignacego Jana Paderewskiego |
| topic | Paderewski, Ignacy Jan 1860-1941 (DE-588)118986724 gnd Komposition Musik (DE-588)4133320-2 gnd |
| topic_facet | Paderewski, Ignacy Jan 1860-1941 Komposition Musik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=020633192&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=020633192&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004668106 (DE-604)BV021678264 |
| work_keys_str_mv | AT rababogusław miedzyromantyzmemamodernizmemtworczosckompozytorskaignacegojanapaderewskiego |