Styl brillant we wczesnoromantycznej muzyce polskiej:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Łódź
Łódzkie Towarzystwo Naukowe
2012
|
| Schriftenreihe: | Szlakami Nauki
38 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 180 S. Ill., Notenbeisp. 24 cm |
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Datensatz im Suchindex
| _version_ | 1804150320173940736 |
|---|---|
| adam_text | Spis treści
Słowo wstępne
............................................................................. 7
1.
Styl
brillant
~ termin i geneza
................................................... 10
1.1.
Źródła powstania i rozwoju stylu
brillant
................................... 11
1.2.
Teoria oraz założenia techniczno-wykonawcze stylu
brillant
Johanna
Nepomuka
Hummła
................................................... 25
2.
Styl
brillant
w twórczości wybranych kompozytorów polskich
doby wczesnoromantycznej
...................................................... 37
2.1.
Polski salon muzyczny w
XIX
wieku
........................................... 41
2.2.
Między śpiewnością a popisowością
-
aspekt wirtuozowsko-liryczny w wybranych utworach
Marii Szymanowskiej, Ignacego Feliksa Dobrzyńskiego
i Fryderyka Chopina
.................................................................... 52
2.2
Л
.
Maria Szymanowska w kręgu wirtuozowskiego
sentymentalizmu czasów porozbiorowych
........................ 52
2.2.2.
Ignacy Feliks Dobrzyński na tle rozkwitu polskiej
stylistyki
brillant
w okresie Królestwa Polskiego
............ 81
2.2.3.
Chopinowska symbioza liryzmu i wirtuozerii
—
ukoronowanie doświadczeń polskiej romantycznej
stylistyki
brillant
................................................................. 120
3.
Artystyczne aspekty wykonawcze stylu
brillant
w fortepianowej
muzyce polskiej przełomu
XVIII
i
XIX
wieku
............................ 148
3.1.
Pianistyczne elementy wykonawcze i ich rola w kreowaniu
indywidualnego obrazu dzieła stylistyki
brillant
...................... 148
3.2.
W poszukiwaniu interpretacji
................................................... 154
Styl
brillant
jako synteza tradycji wykonawczej i artystycznego
rozmachu pianisty
.................................................................... 154
Podsumowanie
................................................................................ 164
Indeks nazwisk
............................................................................... 169
Abstract
........................................................................................... 174
Bibliografia
..................................................................................... 179
Abstract
Title: Brillant
style
in Polish early Romantic music
Contents:
1
Brillant
style
—
the term and genesis
1.1
Sources of creation and development of
brillant
style
1.2
The theory and technical and performance assumptions of the
bril¬
lant
style by
Johann
Nepomuk
Hummel
1.3
Brillant
style in the research context
2
Brillant
style in works of some Polish composers of early Romantic period
2.1
Polish musical salon in the 19th century
2.2
Between melodiousness and spectacular shows. The virtuoso and
lyrical aspect in some works by Maria
Szymanowska, Ignacy Feliks
Dobrzyński
and
Fryderyk
Chopin.
2.2.1
Maria Szymanowska in the centre of virtuoso
sentimentalism
of after partition times.
2.2.2
Ignacy Feliks Dobrzyński
in the background of Polish
brillant
stylistics in the times of Polish Kingdom.
2.2.3
Chopin s symbiosis of lyrism and virtuoso as a crowning
achievement of Polish Romantic
brillant
stylistics.
3
Artistic performance aspects of
brillant
style in Polish piano music of the
turn of the
Іб 1
and 19th century.
3.1
Pianistic
performance elements and their role in creation of individ¬
ual image of
a brillant
style piece of work.
3.2
Seeking interpretations.
Brillant
style as synthesis of performance
tradition and a pianist s artistic flourish.
174
In the history of composition and performance an interesting and mul-
tiplot chapter of musical changes opens, together with development Roman¬
tic epoch. Then a different from the current concept of a piece of work is
being born. The work, which reaching for various inspirations, is slowly
turning away from classical, formal and melodic and harmonic formula and
is heading for virtuosity. Musical findings of that period would not have
been possible without specific trends and composing tendencies being
pointed out in the early stage of the Romantic period. Among those a special
place was reserved for
brillant
style. This technique joined formal elegance
and beauty of Italian
bel
canto style with harmonic enriching and virtuosity,
created on the basis of
sentimentalism,
became a bridge between Classicism
and music 19th century.
Trying to catch the essence and evolution of
brillant
style, nineteen cen¬
tury s and contemporary researchers have been basing on analysis of great
European composers, slightly neglecting this phenomenon within smaller
e.g. national areas. Some Polish researchers, touching the issue, limited it
only to a description of the problem, focusing just on one composer and they
did not extend their study onto works of other Polish early Romantic musi¬
cians. Thus there is a gap around
brillant
style embracing heritage of tal¬
ented composers of the period of partitions, Warsaw Duchy and Polish
Kingdom, who despite being remote from European music centre tried to
follow its traces. Combining what was Polish and national with contempo¬
rary composing fashion, they created some interesting and worth analysing
works, which are research material for the present thesis. A blank page in
the description of this piece of Polish music history makes one put questions:
firstly, if and to what extend creation of local composers included some fea¬
tures oh widespread on the West trend for virtuosity interweaving with affec¬
tionate lirysm and secondly, how to perform and interpret works written by
Polish creators according to rules of
brillant
style.
The stimulus to undertake scientific consideration on Polish
brillant
style was for the author only Chopin s works. The studies on them initiated
the process of searching for other but similar compositions by musicians
creating just before or together with the great composer. These actions re¬
sulted in rediscovery of plenty oh interesting information about works by
early Romantic composers, who have not been too famous so far. These mu¬
sicians, similarly to Western European ones, performed daring technical
shows, joining them with melodious parts. In Polish works, following
brillant
style, we can observe domination of figuration, ornamentation and a principle
of alterative use of deeply lyrical and exceptionally virtuoso moments. This
combination revealed musical and professional mastery of a performer,
which was particularly noticeable in piano, violin and chamber literature.
175
The research of some compositions oh Warsaw composers mainly, al¬
lowed to describe the
brillant
style phenomenon, which has become the aim
of the present thesis. A special place is here occupied by analysis of some
works by Maria Szymanowska
(Nocturn
in
В
major),
Ignacy Feliks Do¬
brzyński
{Grand Trio in A op.
17)
and
Fryderyk
Chopin {Fantasy on Polish
Airs in A major op.
13),
whose recorded on the enclosed record performance,
is an integral part of the presented description of a piece of art .
An attempt of doing a research and creating an in-depth description of
the topic has determined the lay-out of the work. In the first chapter, the author
made closer to a reader the phenomenon of the
brillant
style in historic and
cognitive context. She has framed the epoch background, where based on the
changing philosophy and new social structures, a profession of a virtuoso-
composer was being born. This part of thesis was devoted to a description of
oeuvre
of leading European composers, who willingly and with great deter¬
mination created
brillant
works. The author focused also on, resulting from
composing fashion, problem of changes in, popular then, types of instrumen¬
tal miniatures and soloist concerts. She has also gave her account of
Johann
Nepomuk
Hummeľs
-
the doyen of the
brillant
style
-
work, in which he
framed formal, technical and esthetical guidelines of the presented style. In
the first chapter she described all the collected information about the de¬
scribed stylistics, revealing some significant negligence in researches of
Polish early Romantic
brillant
current.
Based on earlier opinions and definitions, in the second chapter, a pic¬
ture of fashions and composing tendencies of the 19th cent. Polish music
salon has been presented. Introducing political, cultural and social unique¬
ness of Poland of the turn of the 18th and 19th century, the author described
composing experience of popular, among whom we may find
Józef
Eisner,
Franciszek
Lessel,
Józef Deszczyński, Józef Krogulski, Antoni Kątski,
a vio¬
linist
-
Karol Lipiński and Henryk Wieniawski.
Next, analysing in detail
some compositions, the author emphasised achievements of the most inter¬
esting (according to her) artists: Szymanowska,
Dobrzyński
and Chopin. The
choice came from searching and comparing elements of
briliant
style in
possibly various genres
-
from early miniatures through chamber forms up
to concert pieces. Putting the works together allowed to show not only stylis¬
tic development from its modest use to ideal symbiosis of virtuosity and
lyrical and sentimental motives opening the way for the mature Romantic
period, but also to distinguish features which make Polish
brillant
style dif¬
ferent from European compositions. Probably as an effect of complex Polish
political situation and coming with it need to kindle Polish national spirit,
Polish music of this period is full of national and folk references.
A detailed analysis of works by Szymanowska,
Dobrzyński
and Chopin
allowed to notice how together with the development of the
brillant
style it
176
came to quoting of native melodious expressions. Works by Szymanowska,
which followed gentle salon character, show the beginnings of virtuoso
stylis-
tics, which strongly absorbed national elements only in
Dobrzyński
s
and then
Chopin s works. Of course, a crowning achievement of this tendency became
the virtuoso Fantasy op.
13
by
Fryderyk
Chopin, which was to stay forever
almost symbolic image of early Romantic composing fashions and a founda¬
tion stone of Romantic national schools. Presenting by the author almost
unknown so far Grand Trio op.
17
by
Dobrzyński,
has become big contribu¬
tion to discovery of forgotten works by Polish composers. Its detailed analy¬
sis allowed to trace the way in which composers implemented
brillant
style
to piano chamber compositions and made allusions to traditional national
motives. In four-part composition by
Dobrzyński
s
even fragments use char¬
acter of popular Polish dances
—
mazur i krakowiak.
The second chapter
which is entirely devoted to Polish compositions unfolded a wide perspec¬
tive onto music of early Romantic Polish salons, which were dominated by
piano
brillant
style and joined virtuosity and lyrism as well as quotations from
national melodies. The last chapter made an attempt to answer the question
how to interpret and perform Polish works in
brillant stylistics.
The author
was searching for this in statements by Chopin himself and also in his stu¬
dents recollections. The conclusions were confronted with some remarks of
another great Romantic virtuoso
-
Ferenc
Liszt. Quoting opinions about
ways and methods of playing of two so distinguished European representa¬
tives of virtuoso current allowed to have broader perspective on performance
aspects of
brillant
stylistics.
Seeking a way of, the closest to early Romantic
epoch, interpretation of here described works, the author reached for the
concept of
intertextual
interpretation by
Mieczysław Tomaszewski
and
Irena
Poniatowska s point of view. These researchers claim that a piece of art is
somehow a mirror of the times in which it was created. This conclusion
makes one focus on early Romantic writers remarks, so that after analysis of
all of the factors making up for the interpretation, such as beauty of the
sound, phrasing or pedalisation, it was possible to quote in the summary
a concluding opinion by Chopin himself: The simplicity is the top. Having
overcome all the difficulties, played thousands of notes, you come to charm¬
ing simplicity being the top of arts (Op.
cit. J. Eigeldinger,
Chopin in the
eyes of his students, Cracow
2010,
p.
80).
Framing of the epoch, leaning over early Romantic developments of
Polish music salons and meticulous research of some pieces by
Szymanowska,
Dobrzyński
and Chopin, paying special attention to finding
and defining elements of
brillant
stylistics, allowed the author to prove that
in Poland at the turn of 18th and 19th century a virtuoso composing trend was
developing. This trend was able to work out its own, innovative features
compared with Western music. Taking into account time, subject and spatial
177
scope
of the work, based on critics of the sources, analysis of accessible
heritage of mentioned above creators and
pianistic
experience of the most
distinguished virtuoso-composers, the author proved the existence of a very
interesting current and valuable Polish music literature of the end of the
1
8th
century and the beginning of the
1
9th century, which was wrongly forgotten
for such a long time.
Tłum. Katarzyna Kostrzewska-Klimczyk
178
|
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| era_facet | Geschichte 1800-1900 |
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| id | DE-604.BV040995550 |
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| indexdate | 2024-07-10T00:37:03Z |
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| language | Polish |
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| series | Szlakami Nauki |
| series2 | Szlakami Nauki |
| spelling | Górska-Kołodziejska, Agata Verfasser (DE-588)1047403390 aut Styl brillant we wczesnoromantycznej muzyce polskiej Agata Górska-Kołodziejska Łódź Łódzkie Towarzystwo Naukowe 2012 180 S. Ill., Notenbeisp. 24 cm txt rdacontent n rdamedia nc rdacarrier Szlakami Nauki 38 Geschichte 1800-1900 gnd rswk-swf Kompozytorzy / Polska / 19 w jhpk Muzyka na fortepian / 19 w / historia i krytyka jhpk Muzyka / Polska / 19 w / historia i krytyka jhpk Styl muzyczny / 19 w jhpk Klaviermusik (DE-588)4030993-9 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Klaviermusik (DE-588)4030993-9 s Geschichte 1800-1900 z DE-604 Szlakami Nauki 38 (DE-604)BV010908660 38 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025973259&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025973259&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Górska-Kołodziejska, Agata Styl brillant we wczesnoromantycznej muzyce polskiej Szlakami Nauki Kompozytorzy / Polska / 19 w jhpk Muzyka na fortepian / 19 w / historia i krytyka jhpk Muzyka / Polska / 19 w / historia i krytyka jhpk Styl muzyczny / 19 w jhpk Klaviermusik (DE-588)4030993-9 gnd |
| subject_GND | (DE-588)4030993-9 (DE-588)4046496-9 |
| title | Styl brillant we wczesnoromantycznej muzyce polskiej |
| title_auth | Styl brillant we wczesnoromantycznej muzyce polskiej |
| title_exact_search | Styl brillant we wczesnoromantycznej muzyce polskiej |
| title_full | Styl brillant we wczesnoromantycznej muzyce polskiej Agata Górska-Kołodziejska |
| title_fullStr | Styl brillant we wczesnoromantycznej muzyce polskiej Agata Górska-Kołodziejska |
| title_full_unstemmed | Styl brillant we wczesnoromantycznej muzyce polskiej Agata Górska-Kołodziejska |
| title_short | Styl brillant we wczesnoromantycznej muzyce polskiej |
| title_sort | styl brillant we wczesnoromantycznej muzyce polskiej |
| topic | Kompozytorzy / Polska / 19 w jhpk Muzyka na fortepian / 19 w / historia i krytyka jhpk Muzyka / Polska / 19 w / historia i krytyka jhpk Styl muzyczny / 19 w jhpk Klaviermusik (DE-588)4030993-9 gnd |
| topic_facet | Kompozytorzy / Polska / 19 w Muzyka na fortepian / 19 w / historia i krytyka Muzyka / Polska / 19 w / historia i krytyka Styl muzyczny / 19 w Klaviermusik Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025973259&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=025973259&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV010908660 |
| work_keys_str_mv | AT gorskakołodziejskaagata stylbrillantwewczesnoromantycznejmuzycepolskiej |