Harmonie i dysonanse: muzyka Młodej Polski wobec innych sztuk
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Poznań
Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk
2012
|
| Schriftenreihe: | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk
30 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache Bibliogr. s. 568-624. Indeks |
| Beschreibung: | 885 s. Notenbeisp. 25 cm |
| ISBN: | 9788376542362 |
Internformat
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| 500 | |a Zsfassung in engl. Sprache | ||
| 500 | |a Bibliogr. s. 568-624. Indeks | ||
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Datensatz im Suchindex
| _version_ | 1804151976864251904 |
|---|---|
| adam_text | PIS TREŚCI
WPROWADZENIE
...................................................................................... 13
PODZIĘKOWANIE
..................................................................................... 33
Część i
muzyka młodej polski. ujęcie historyczne
................................ 35
i. inspiracje
.......................................................................................... 37
.De
la musique avant toute chose.
..
O miejscu muzyki w kulturowym
pejzażu europejskiego symbolizmu i
Mîodej
Polski
............................... 37
2.
Oczami kompozytorów miodopolskich: sytuacja muzyki polskiej po
1870 г
.................................................................................................. 60
3.
Oczami kompozytorów młodopolskich: muzyka europejska po
1870
r.
67
II.
O DWÓCH MOŻLIWOŚCIACH ROZUMIENIA TERMINU
MUZYKA MŁODEJ POLSKI
.................................................................. 73
1.
Sens wąski:
Mîoda
Polska jako grupa artystyczna
(„Mîoda
Polska
w muzyce , Spółka Nakładowa Młodych Kompozytorów Polskich)
......... 74
2.
Sens szeroki: Młoda Polska kompozytorska jako formacja historyczna
82
Faza wstępna:
1896-1904..................................................................... 84
Pierwsza faza kulminacyjna:
1905-1912 ............................................... 91
Druga faza kulminacyjna:
1913-1918.................................................... 99
Młodopolski zmierzch:
1919-1926 ....................................................... 104
Dygresja I: Pogrobowcy epoki
............................................................... 108
SPIS TREŚCI
xiv:
z
rozdźwiękiem w duszy, o synkretyzmie religijnym
W KRÓLU ROGERZE SZYMANOWSKIEGO
.................................... 512
ŕ
Д
12
XV.
MATEJKO I
BÖCKLIN
W MUZYCZNYCH EKFRAZACH
RÓŻYCKIEGO
.................................................................................. 523
XVI.
O POZAMUZYCZNYCH INSPIRACJACH W SYMFONIACH
PROGRAMOWYCH Z PIERWSZEJ DEKADY
XX
W:
MIĘDZY TEMATYKĄ NARODOWOWYZWOLEŃCZĄ
A PSYCHOMACHIĄ
......................................................................... 534
XVII.
MANIFESTY ESTETYCZNE I IDEOLOGICZNE ZASZYFROWANE
W DŹWIĘKACH: FITELBERG, SZELUTO, SZYMANOWSKI
............ 543
ZAKOŃCZENIE
........................................................................................... 561
WYKAZ ZASTOSOWANYCH SKRÓTÓW
.................................................... 566
BIBLIOGRAFIA
........................................................................................... 568
INDEKS NAZWISK
...................................................................................... 625
STRESZCZENIE
(SUMMARY)
..................................................................... 641
ANEKS: PRZYKŁADY MUZYCZNE
............................................................. 645
UMMARY
Harmonie
І
dysonanse. Muzyka Młodej Polski wobec innych sztuk
[Harmonies and Disso¬
nances.
Young Poland Music and Other Arts] is the first Polish musicological monograph
on the period of Young Poland, however, not limited to an ephemeral group of composers
known as Young Poland in music (active under the name Young Polish Composers Pub¬
lishing Company , a group having among its members mainly, though not exclusively, four
artists: G. Fitelberg, L.
Różycki,
A. Szeluto and K. Szymanowski), but as a larger historical
group encompassing a 30-year time span between
1896
and
1926.
Harmonies and Disso¬
nances is at the same time the very first monograph exploring relationships between music
of that period and other arts
-
mainly poetry, drama and prose, as well as the visual arts. Al¬
ready its title refers to a cycle of polemic articles of the 1890s, Harmonies and Dissonances,
written by a prominent literary critic Z. Przesmycki {as an advocate of the concept of
Vart
pour l art,
he sought to liberate the art from the burden of nationality ), at the same time,
the concept of the book owns a lot to outstanding publications approaching the problem
from hermeneutical and
comparatisťs
perspective
-
Untwisting the Serpent. Modernism in
Music, Literature and Other Arts
(2000)
by D. Albright, and
-
above all
-
to German Mod¬
ernism. Music and the Arts
(2005)
by W.
Frisch.
In the two chapters of the first part of the book
-
Music of Young Poland. Historical
Perspective
-
the author, having outlined the place of music in the literary, theatrical,
visual and philosophical culture of the
fin de siècle, as
well as trends pervading European
and Polish music after
1870,
focused on Young Poland as a historical group. Drawing our
attention to the fact that the generation of composers born in 1870s and 1880s was al¬
most a decade late when compared with analogical, western music groups (and with the
Young Poland painters and men of letters), the author distinguished four stages of Young
Poland in music: I. introductory
(1896-1904),
marked by first Polish symphonic poems
Step [The Steppe] by Z. Noskowski,
Der Flüchtling
[Refugee] by M.
Sołtys,
Bianca da
Mo¬
leña
by
M.
Karłowicz
and
Miške
[In the Forest] by M.K.
Čiurlionis)
and decadent songs by
Kariowicz to the text of Tetmajer, II. first culmination
(1905-1912),
basically correspond-
ing to the activity of the Composers Publishing Company and M. Kariowicz, H. Melcer,
H·
Opieňski,
M.K.
Čiurlionis,
E.
Morawski,
P. Rytel, A. Wieniawski and B. Wallek-Walewski,
HI. second culmination
(1913-1918),
when the composing activity, often unpublished
due to war times, by no means ceased (it was then that Szymanowski wrote his first oriental
SUMMARY
works turning to impressionist aesthetics,
Różycki
composed his best pieces, including the
Piano Quintet and Eros and Psyche opera, staged by a number of German and Polish the¬
atres,
Morawski
wrote a series of symphonic poems with Ulalume, often spreading beyond
the boundaries of major-minor tonality), IV. the Young Poland twilight
(1918-192Ó),
with
opus magnum
Król
Roger [King Roger] by Szymanowski and his significantly noticeable shift
to national themes
-
e.g. in mazurkas, Stopiewnie Wordsong] and Stabat Mater, similar
phenomena may be observed in the
oeuvre
of Szeluto (mazurkas),
Różycki
(ballet Pan Twar-
dowski) or
Morawski
(ballet
Miłość
[love]). December
1926,
when the next generation of
composers put forward a project of organizing the Association of Young Polish Musicians in
Paris, marks a conventional end of the period of Young Poland.
When justifying his decision concerning
reestablishment
of the term Young Poland ,
which in Polish musicological writing tends to be substituted with modernism, the author
suggests (following, to some extent, thesis already raised by
A. Jarzębska
and J. Paja-Stach)
to perceive Polish modernism as a historical period comprising a broad spectrum of musical
phenomena that occurred between the second half of the
1
890s and the turn of the
1
9ó0s
and
1970s,
when the
coryphées
of the Polish avant-garde born in
1930s
(mainly K. Pen-
derecki and H.M.
Górecki)
made a sudden stylistic change simplifying their musical lan¬
guage. From such a perspective, Young Poland
(1896-1926)
would be an introductory stage
followed by Neoclassicism (with its three stylistic shades : pre-war, war and after-war one
lasting until ca.
1956)
and the avant-garde (sonorism and dodecaphony), comprising ap¬
proximately the years
1956-1970.
The second part of the book
-
Borderlands of the Young Poland music. Genological
perspective
-
comprises three extensive chapters, each of them demonstrating interpreta¬
tive potential that a symphonic poem, inspired by a specific literary work or painting, as
well as song cycles, songs and literary operas , might carry. Chapter III shows connec¬
tions between the Young Poland symphonic music and poetry of S.
Wyspiański (Bolesław
Śmiały
Boleslaus the Bold] by
Różycki),
his last, unfinished drama
Zygmunt
August
[Zyg¬
munt
August
і
Barbara
{Sigismund
Augustus and Barbara or in its English version: Love and
Destination] by H.
Opieński,
a piece modeled on a poem
Stanisław
and Anna
Oświęcim
by
Kartowicz), poetry of J.
Słowacki {Anhelli
by
Różycki
and
Pożegnanie
Ellenai [Farewell to
Ellenai] by F.
Nowowiejski),
works by
A. Mickiewicz [Grażyna
by Rytel and
Konrad
Wallen-
rod by W. Friemann), a Czech symbolist J.
Zeyer
{Król Kofetua
[King Kofetua] by
Różycki),
E.A.
Poe
[Nevermore and Ulalume by
Morawski),
G.
Byron
(Korsarz
[Corsaire]
by Rytel)
and M. Cervantes (Don
Quichotte
by
Morawski).
Chapter IV, dedicated to a song genre,
includes interpretations of nine vocal cycles to the texts of K. Przerwa-Tetmajer
(Opieński),
J.
Kasprowicz
(Szymanowski),
T. Miciňski
(Szymanowski and
Różycki),
R.
Dehmel {Melcer
and Fitelberg), L.
Rydel
(Wallek-Walewski),
С
Jellenta
(Różycki)
and
-
as a digression
-
S. Przybyszewski (a song cycle Vigilien by a German composer
C. Ansorge,
presumably
inspired by a tragic death of Przybyszewski s wife D. Juel). A sub-chapter on interpretations
of single poems is focused on the songs to the following texts:
Po szerokim morzu
[Across
the Vast Sea) by Tetmajer (Kartowicz and
Opieński), Cień Chopina
[Shadow of Chopin] by
Tetmajer {W. Żeleński, W. Lipski,
J.
Wertheim,
A. Wielhorski, R.
Gnus
and
W.
Friemaim),
Łabędź
[The Swan] by W. Berent (Szymanowski and Fitelberg),
Na księżycu czarnym
Ш
the Black Moon] by
Miciński (Różycki
and Szymanowski), Die
Mitternacht
[Midnight]
W
H.
Heine (Szeluto and
Morawski),
Un
grand
sommeil noir
[A Great, Dark Sleep] by
R
Vi¬
laine
(Morawski,
M. Ravel
and I. Stravinsky), and finally
Na AniotPański
[The
Angelus] W
SUMMARY
Tetmajer
(a digression, with a song by
Żeleński
treated as a comparative material for a melo¬
drama by Kartowicz, based on the same poems, though presented in a broader context of
J5ł.
German and the Young Poland melodrama). Chapter V is centred on the opera, exploring
043 %
an unfinished project Protesilas
і
Laodamia [Protesilaus and Laodamia], operas to the texts |
by
Żuławski (Eros
і
Psyche [Eros and Psyche] by
Różycki,
Ijola by Rytel), musical version of
ƒ
a drama
Meduza
[Medusa] of Jellenta by
Różycki,
drama Hagith of
F. Dörmann
by Szyman-
owski and a tragedy Beatrix
Cenci
of
Słowacki
by
Różycki.
Third part
-
Borderland of the Young Poland. Thematic approach (Manggha)
-
in
its mosaic structure is indebted to Manggha drawings by
Feliks Jasieński,
an outstanding
Young Poland art collector and sensitive music connoisseur
-
comprises eleven chapters be¬
ing studies of selected issues. It opens with a commentary on the phenomenon of musical
loftiness as one of the supreme aesthetic categories of the entire Young Poland art (chapter
VI), then, the phenomenon of the Young Poland dance is raised (discussed within European
context, however, linked to e.g. Dionysian ideology
-
chapter
VII).
Follows a presenta¬
tion of a musical perspective of a highly popular in the Young Poland literature, drama or
painting motive of the tolling bell (chapter
VIII),
and, respectively, two chapters concern¬
ing musical images of the mountains
[Odwieczne pieśni
[Eternal Songs] by Kartowicz
shown, among other aspects, in hidden relationships with the painting of G.
Segantini
and
the only Young Poland symphonic poem involving a choir
W górach
[In the Mountains] by
J. Gablenz
-
chapter IX) as well as a concept of mare tenebrarum, deriving from the works
of
Poe,
Maeterlinck, Przybyszewski and Micinski (poems Jura [The Sea] by
Čiurlionis
and
W głębi morza
[From the Depths of the Sea] by Fitelberg
-
chapter X). Another chapter
explores a musical perspective of the modernist
topos
of withered soul and love garden,
going back to the
oeuvre
of
Verlaine (on
the example, among other works, of the orchestral
Pieśni miłosne
На
/iza
[Love Song of
Hafiz]
and Violin Concerto No.
1
by Szymanowski,
inspired by
Noc majowa
[May Night] by
Miciński,
as well as poems
Monna
Liza
Gioconda
by
Różycki
and
Święty gaj
[The Sacred Grove] by Rytel). The following four chapters are
devoted mainly to outer musical literary-visual inspirations present in the
oeuvre
of Szy¬
manowski: chapter
XII,
on the example of Symphony No.
3
„Pieśń o nocy
[The Song of the
Night] by Szymanowski, shows a transfer from
a topos
of illness to the one of inexpressibil-
ity, inspired by the reflection of Nietzsche; chapter
XIII
discovers possible relationships be¬
tween Fantasia in
С
-major
for piano and a tomb sculpture by Michelangelo
La Notte
[Night]
and its musical ekphrasis
-
La Notte
by Liszt; chapter
XIV,
dedicated to the opera
Król
Roger
[King Roger], comments on the already discussed, on the example of Eros and Psyche by
Różycki,
category of the Young Poland religious syncretism. Chapter XV makes use of a sym¬
phonic scherzo
Stañczyk
and the piano poem
Im
Spiel
der Wellen
[The Play of the Waves] by
Różycki
to present Matejko-Boecklin like inspirations evident in the music of that composer
(a concept of musical ekphrasis), whereas chapter
XVI
discusses outer musical inspirations
observed in the Young Poland programme symphonies by Melcer {Symphony in C-minor,
lost),
Morawski
(a poem-symphony Vae Victis [Woe to the Vanquished], lost) and Kartowicz
{ Rebirth Symphony). In those works, contrary to symphonies whose authors, belonging to
the generation of
W. Żeleński, Z.
Noskowski,
IJ.
Paderewski and E.
Młynarski,
took up the
topic of fight for national independence (in that chapter, as a point of reference serves the
Symphony in
А
-minor
by
Żeleński,
presently lost, inspired by the legend of Wanda), repre¬
sentatives of Young Poland preferred psychomachia taking place within an artist s soul as
topics of their programmes.
SUMMARY
Chapter
XVII,
closing the third part of the book, is an interpretative study, with a sym¬
phonic poem
Pieśń o Sokole [Song
of the Falcon)
(1904)
by Fitelberg (interpreted in the
644
context of the manifesto
Płazy i ptaki
[Amphibians and Birds] by the Polish philosopher
M. Zdziechowski) and autobiographic Symphony No.
1 (1907)
by Szymanowski (partly
modeled on
Heldenleben
[The Life of Hero] by Strauss and a satirical song
Abschied
[Fare¬
well] by H. Wolf to the text of
Mörike)
treated as encoded artistic manifestos; the topic
of a hidden programme of Concerto Overture in E-major
(1905)
by Szymanowski, whose
ecstatic programme, based on a motto taken from a poem
Witeź
Wtast [The Knight
Vlast]
by
Micifiski, is identical with the text of a forgotten song
Tryumf
[Triumph)
(190ό)
by Szeluto,
which might have been written as a discussion with the Overture in E-major.
In the closing section, the author revisits the notion of the Young Poland paradigm shift
gradually taking place in the
1920s.
It was the most evident in the case of three composers:
1.
K. Szymanowski, who in his Stabat Mater or Harnasie turned to folksiness and religiosity,
the issues depreciated by the Young Poland artists,
2.
E.
Morawski,
acknowledged in that
book as the most expressive
-
along with Szymanowski
-
composer of the Young Poland
generation, who in his ballet
Miłość
[Love] turned, among other things, to a modernist con¬
cept of the machine, whereas in a ballet
Świtezianka
[The Nymph of Lake Switez] he also
explored the folksiness,
3.
Różycki,
who
-
though mainly in outer musical categories
-
as
the first Polish composer applied the means of modern aesthetics of
Zeitoper
to his last
complete opera
Młyn diabelski czyli Albatros
13
[The Devil s Mill or Albatross Number
13).
Transi,
by
Izabela Bogdan
|
| any_adam_object | 1 |
| author | Gmys, Marcin 1970- |
| author_GND | (DE-588)1178736423 |
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| building | Verbundindex |
| bvnumber | BV041706691 |
| ctrlnum | (OCoLC)873544769 (DE-599)BVBBV041706691 |
| era | Geschichte 1870-1925 gnd |
| era_facet | Geschichte 1870-1925 |
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| geographic | Polen (DE-588)4046496-9 gnd |
| geographic_facet | Polen |
| id | DE-604.BV041706691 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:03:23Z |
| institution | BVB |
| isbn | 9788376542362 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027153977 |
| oclc_num | 873544769 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 885 s. Notenbeisp. 25 cm |
| publishDate | 2012 |
| publishDateSearch | 2012 |
| publishDateSort | 2012 |
| publisher | Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk |
| record_format | marc |
| series2 | Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk |
| spelling | Gmys, Marcin 1970- Verfasser (DE-588)1178736423 aut Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk Marcin Gmys Poznań Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk 2012 885 s. Notenbeisp. 25 cm txt rdacontent n rdamedia nc rdacarrier Prace Komisji Muzykologicznej / Poznańskie Towarzystwo Przyjaciół Nauk 30 Zsfassung in engl. Sprache Bibliogr. s. 568-624. Indeks Geschichte 1870-1925 gnd rswk-swf Młoda Polska jhpk Musik (DE-588)4040802-4 gnd rswk-swf Polen (DE-588)4046496-9 gnd rswk-swf Polen (DE-588)4046496-9 g Musik (DE-588)4040802-4 s Geschichte 1870-1925 z DE-604 Poznańskie Towarzystwo Przyjaciół Nauk Prace Komisji Muzykologicznej 30 (DE-604)BV005893205 30 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=027153977&sequence=000002&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=027153977&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Gmys, Marcin 1970- Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk Młoda Polska jhpk Musik (DE-588)4040802-4 gnd |
| subject_GND | (DE-588)4040802-4 (DE-588)4046496-9 |
| title | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk |
| title_auth | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk |
| title_exact_search | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk |
| title_full | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk Marcin Gmys |
| title_fullStr | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk Marcin Gmys |
| title_full_unstemmed | Harmonie i dysonanse muzyka Młodej Polski wobec innych sztuk Marcin Gmys |
| title_short | Harmonie i dysonanse |
| title_sort | harmonie i dysonanse muzyka mlodej polski wobec innych sztuk |
| title_sub | muzyka Młodej Polski wobec innych sztuk |
| topic | Młoda Polska jhpk Musik (DE-588)4040802-4 gnd |
| topic_facet | Młoda Polska Musik Polen |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027153977&sequence=000002&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=027153977&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV005893205 |
| work_keys_str_mv | AT gmysmarcin harmonieidysonansemuzykamłodejpolskiwobecinnychsztuk |