Dyskopedia poloników 1919 - 1939: 1
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Warszawa
Biblioteka Narodowa
2013
|
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | LXXII, 428 s., [8] s. tabl. il. - Ill. 30 cm. |
| ISBN: | 9788370096991 9788370096915 |
Internformat
MARC
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| 020 | |a 9788370096991 |9 978-83-7009-699-1 | ||
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| 245 | 1 | 0 | |a Dyskopedia poloników 1919 - 1939 |n 1 |c Katarzyna Janczewska-Sołomko |
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| 300 | |a LXXII, 428 s., [8] s. tabl. |b il. - Ill. |c 30 cm. | ||
| 336 | |b txt |2 rdacontent | ||
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Datensatz im Suchindex
| _version_ | 1804150404902027264 |
|---|---|
| adam_text | Spis treści
Od
autorki
VII
Fonografia
w dwudziestoleciu międzywojennym w nowych warunkach
społeczno-kulturalnych
IX
Rozwój fonografii
IX
Wykonawcy
XIV
Repertuar
XXI
Miejsce fonografii w życiu kulturalnym
XXVIII
Zakres i tematyka publikacji
XXXI
Założenia i metodologia
XXXI
Konstrukcja pracy
XXXIV
Proweniencja opisów
XXXVII
Układ opisu dokumentu dźwiękowego
XXXIX
Źródła
XL
Skróty i oznaczenia
XLVII
Słownik terminów
L
Bibliografia
LVI
Streszczenie
LXII
Summary
LXV
Spis ilustracji zamieszczonych w części wstępnej
LXVIII
Spis ilustracji zamieszczonych we wkładce do pierwszego tomu
LXIX
Spis ilustracji zamieszczonych we wkładce do drugiego tomu
LXX
Spis ilustracji zamieszczonych we wkładce do trzeciego tomu
LXXI
Dyskografia
1
Indeks twórców i wykonawców
1477
Indeks tytułów i incipitów
1609
Indeks utworów scenicznych, cyklicznych i z filmów
1798
Indeks utworów samodzielnych
1838
Indeks firm fonograficznych
1941
Summary
Dy skopedia
poloników
1919—1939
(Discopedia
of
Polish materials
1919—1939)
was created within
the research work of
Zakład Dokumentów
Dźwiękowych Biblioteki Narodowej w Warsza¬
wie
(the
Audio
Documents
Department
of the
National
Library of Poland in Warsaw), and con¬
stitutes the continuation of
Dy skopedia
poloników
do
roku
1918
(Discopedia of Polish materials up to
1918).
The publication, unprecedented in Po¬
lish literature, is a contribution to the history of
culture of the interwar period. It contains a list
of
18,562
recordings made by Polish artists, re¬
cordings of works of Polish composers and re-
editions of previous recordings issued in the in¬
terwar period by companies all over the world
and by the foreign firms that operated in Po¬
land. Dyskopedia also plays the role of
Centralny
Katalog Zagranicznych Poloników Fonograficz¬
nych z okresu
1919-1939
(Central
Catalogue of
Polish Phonographic Materials from the Period
of
1919-1939).
The interwar period, which started in Poland
with regaining independence, was a period of wi¬
despread changes; witnessing the reconstruction
of many institutions independent of foreign in¬
terference, and changes of cultural needs. Phono¬
graphy, a discipline that is often forgotten by hi¬
storians, became an inherent part
ofthat
situation.
In the period
1919-1939,
the technical proces¬
ses associated with phonography became stabili¬
zed. The breakthrough took place in
1925
and
the electric era started for recordings. The use
of capacitor microphones
-
a new type of sound
transmitters, the prototype of which was deve¬
loped in
1917 -
allowed to make the first electric
recordings
(11
November
1920
in Great Britain).
The new recording method resulted in improved
quality of recording and playing back the sound,
and in particular in increasing the level of sound
volume.
In
1925
Alfred Cortot recorded Frederick Chopin s
Impromptu in
F
sharp major and his own trans¬
cription of Franz Schubert s Litany on a 30-cm
disc. The electric recordings of symphonic music
were started with
Camille Saint-Saëns s
Dance
Macabre performed by the Philadelphia Orche¬
stra under Leopold Stokowski. In December
1925
the Gramophone Co. firm in London made the
first electric recording of the whole symphony in
Europe.
Discs with recordings became sought-after pro¬
ducts, and phonographic firms developed. The
Victor firm dominated in America, the British
Gramophone Co. and Columbia
—
in Europe, and
the Polish
Syrena
and two foreign firms
—
Odeon
and Columbia
—
in Poland. Artists were willing
to preserve their productions on gramophone
discs, they used ambitious repertoire, and arran¬
ged for high quality accompaniment.
The number of performers of Polish phonogra¬
phic materials in
1919-1939
was very large.
Many recordings were made by:
Jerzy
Gert -
conductor,
Janusz Popławski
—
singer, as well as
by eminent pianists: Alfred Cortot,
Ignacy
Fried¬
man,
Ignacy Jan Paderewski, Artur
Rubinstein.
1928
anonymous piano recordings were found
—
these were mainly recordings on piano rolls.
Instrumental bands were dominated by ensem¬
bles founded by the Polish community abroad,
mainly in the United States. There were much
less recordings of vocal groups.
The period of
1919-1939
in Poland was the hey¬
day of little theatres and cabarets. To meet the
needs of Polish listeners, Polish authors wrote new
texts for foreign songs. Masters of Polish versions
of foreign lyrics were, among others: Marian
Hemar,
Andrzej Wlast, Emanuel
Schlechter
and
Julian Tuwim. The little theatres and cabarets
promoted hits, but it was mainly due to per¬
formers such as:
Hanka Ordonówna,
Tola
Mankiewiczówna, Zofia
Terne, Mira
Zimińska,
Eugeniusz
Bodo,
Mieczysław
Fogg and many
others. The Dana Choir was the most popular of
LXVI
all choirs of revelers. The most eminent compo¬
sers were:
Jerzy Petersburski,
brothers
Artur
and
Henryk
Gold,
Zygmunt Karasiński.
Another group of phonographic Polish materials
included recordings made by Poles living abro¬
ad, especially in the US, in the
1920s
and
1930s.
Among Polish emigrants there were many pro¬
fessional and amateur musicians, and those play¬
ing traditional Polish music. In many cities in
the United States of America, mainly in Chica¬
go, there appeared purely Polish record labels
or
-
less often
-
in cooperation with American
firms. On the American discs produced by the
Polish community there are names of musicians
unknown in Poland, who were often playing tra¬
ditional music imported from the motherland.
Many discs created by the Polish community fe¬
atured amateur recordings, but they played an
important role in the process of preserving the
Polish spirit and they certainly boosted the con¬
fidence of many performers. The following were
especially popular among the American Poles:
Teodozja Wandyczowa,
Bernard Witkowski and
his
Orkiestra Srebrne Dzwony , Jan Kapałka,
Maciek i Kaśka, Paweł
Faut, Victor
Zembrzuski
Polish Orchestra,
Orkiestra
Rybowiaka,
Jan
Wanat, Jan
Kapalka
Polish
National
Orchestra,
Tarnowska Orkiestra Stanisława Stasiaka.
Among the performers there were also recognized
artists of the American opera, such as
Tadeusz
Wroński, Jan Karłowicz
or
Agnieszka
Nering,
but for the Poles living abroad they only record¬
ed popular works. Recordings made by Poles
abroad may not match our current esthetic stan¬
dards, but to assess them we need to consider
the specific situation in which they were created.
The vast majority of recordings before
1939
were
made by Polish emigrants, mainly representati¬
ves of rural areas, living in Chicago, New York
and Buffalo.
Polish materials issued by foreign phonographic
firms mainly included Polish instrumental mu¬
sic, especially Frederick Chopin s works. The
works of
Maurycy
Moszkowski also enjoyed a lot
of interest, especially from German companies.
Teodor
Leszetycki s works were recorded as well.
Piano transcriptions of
Ferenc
Liszt s songs were
popular among pianists and record labels.
The Polish materials recorded until
1939
on rolls
and discs mainly included works of folk, popular
and light entertainment character, instrumental
and vocal works, as well as genre scenes, religious
songs, and Christmas carols performed by local
church choirs or other groups. The American
mutation of the Polish firm Syrena-Electro
-
White Eagle
—
issued some of Syrena s produc¬
tions, and so pre-war recordings of such artists
as Mieczys0aw Fogg, Dana Choir, or Henryk s
Gold orchestra appeared on the American
market. Many original Polish recordings were pu¬
blished by the American firm Victor before the
II World War. This phonographic label intro¬
duced the art of performance of
Ignacy Pade-
rewski,
Artur
Rubinstein or Leopold Stokowski,
but also the light entertainment Polish music.
In the source materials, especially recorded by
Poles abroad, there appear many mistakes and
inconsistencies as regards the spelling of first
and last names, which often hinders or even ma¬
kes it impossible to clearly identify the performer.
The categorization of the given recording to the
category of Polish materials is sometimes dif¬
ficult, or even risky, because we deal with the
affiliation of one artist to several national cul¬
tures. The territorial criterion of selecting the
materials resulted in a situation where the list
included also recordings in languages other than
Polish, made by artists operating in our country,
because they constituted an integral element of
our social and cultural life.
Dyskopedia deals with recordings on two sound
carriers that were common at that time: (gra¬
mophone
—
so called acoustic and electric) discs
and pianola rolls, made by Polish artists and other
performers connected with Polish culture, works
of Polish composers, recordings produced by
foreign firms in Poland and in other countries,
as well as recordings whose topics regarded Po¬
land; it includes musical and verbal recordings
of various genres. Therefore, while choosing the
materials, the selection was based on the notion
of Polish materials and not with the form or
genre of the work, or quality of the recordings,
and so there is no hierarchy of presented recor¬
dings, which in fact excludes the subjectivity of
classification, and at the same time provides
a chance to present the list in its most complete
form. Such an assumption was made for the first
time in the Polish phonographic literature in
Dyskopedia
poloników
do
roku
1918.
The territorial, time and national criteria were
applied while selecting the materials. As regards
sound recordings, the Polish materials comprise:
LXVII
-
recordings made by Polish artists for foreign
phonographic firms,
-
recordings of works of Polish authors or of
authors working in Poland, made by foreign
artists or firms,
-
recordings of the works of foreign authors made
in Polish,
-
products of foreign phonographic labels
-
also
those operating in Poland,
-
use of wording in Polish on sound carriers,
-
recordings of works directly associated with
Poland or Poles.
Controversial cases need to be analyzed as re¬
gards the ambiguity of cultural phenomena
which appear frequently, especially in borderli¬
ne territories or in multinational countries.
The author did her best to find as many prese¬
rved works and recordings described in various
literature as possible. These mainly include com¬
pany and commercial catalogues, autonomous
discographies
or works belonging to larger
productions. Sometimes the only source was
a present-day library catalogue or an archive
catalogue of an institution collecting sound
recordings. Another basis for discography de¬
scription was the listening to the given recor¬
ding. A description unit was one recording of the
work. This is consistent with the specific charac¬
ter of the period which these descriptions refer
to, because what was most important then was
the repertoire and its performer, while the sound
carrier did not constitute an item for a library.
The Material for the Dyskopedia was difficult espe¬
cially in terms of methodology, i.e. specifying the
date of the recording or of the issue. In many
cases risk was taken to specify at least the appro¬
ximate year of the recording, production or issue.
The information, that was sometimes scarce, and
that did not provide the basis for identifying the
given discography item, forced the authors to
provide their own suggestions based on the
source data. The missing information that were
finally assembled, was placed in square brackets
or commented on in the notes.
The starting point for language-related decisions
was the fact that Dyskopedia is a Polish publica¬
tion, and so the Polish language should play the
leading role in it.
Słownik
terminou1
(Dictionary of
terms) includes all the versions or various elements
of the descriptions included in the materials. The
last names of authors and performers were writ¬
ten in their original versions, and in all the va¬
riants appearing in the included sources. The
names of vocal and instrumental groups which
do not have the features of proper names, were
provided in Polish, and others
-
in the original
language. There is a more complex rule as re¬
gards the titles, because in descriptions the ori¬
ginal title was used, together with the possible
opus and number within the opus, and number
of topical catalogue. If a work does not have such
a title, its common name was stated, or the name
provided for the purposes of Dyskopedia
.
Someti¬
mes the title constitutes the
incipit.
The incipits of works were stated in the original
version, and in the forms taken from the sour¬
ces. Many titles or incipits playing the role of
titles, were stated in the dialectal versions, while
if also the literary version appeared, then the dia¬
lectal version was omitted.
The indication of numerous spelling mistakes was
not included in the publication, with the excep¬
tion of substantive errors.
Due to the historical character of recordings, the
grammatical forms of the time were applied in
titles and incipits. Consistent transliteration was
also applied.
I hope that the results of my research, conducted
in the years
1992-2000
in Poland and abroad,
presented in Dyskopedia
poloników
1919—1939,
will contribute to the expansion of the knowledge
on the Polish musical culture of the interwar
period.
|
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| id | DE-604.BV041042787 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:38:24Z |
| institution | BVB |
| isbn | 9788370096991 9788370096915 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-026020164 |
| oclc_num | 854714931 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | LXXII, 428 s., [8] s. tabl. il. - Ill. 30 cm. |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Biblioteka Narodowa |
| record_format | marc |
| spelling | Janczewska-Sołomko, Katarzyna 19XX- Verfasser (DE-588)125520771X aut Dyskopedia poloników 1919 - 1939 1 Katarzyna Janczewska-Sołomko Warszawa Biblioteka Narodowa 2013 LXXII, 428 s., [8] s. tabl. il. - Ill. 30 cm. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache (DE-604)BV041042782 1 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026020164&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026020164&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Janczewska-Sołomko, Katarzyna 19XX- Dyskopedia poloników 1919 - 1939 |
| title | Dyskopedia poloników 1919 - 1939 |
| title_auth | Dyskopedia poloników 1919 - 1939 |
| title_exact_search | Dyskopedia poloników 1919 - 1939 |
| title_full | Dyskopedia poloników 1919 - 1939 1 Katarzyna Janczewska-Sołomko |
| title_fullStr | Dyskopedia poloników 1919 - 1939 1 Katarzyna Janczewska-Sołomko |
| title_full_unstemmed | Dyskopedia poloników 1919 - 1939 1 Katarzyna Janczewska-Sołomko |
| title_short | Dyskopedia poloników 1919 - 1939 |
| title_sort | dyskopedia polonikow 1919 1939 |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=026020164&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=026020164&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV041042782 |
| work_keys_str_mv | AT janczewskasołomkokatarzyna dyskopediapolonikow191919391 |