Świat oper Zygmunta Krauzego:
Gespeichert in:
| Weitere Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Łódź
Akademia Muzyczna im. Grażyny i Kiejstuta Bacewiczów
2016
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 260 Seitens., [40] ungezählte Seiten Bildtafeln Illustrationen, Notenbeispiele |
| ISBN: | 9788360929544 |
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Datensatz im Suchindex
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| adam_text | Spis tresci
Wstçp ....................................................................... 7
Czçsc pierwsza
SYNTEZY: DZIELO OPEROWE ZYGMUNTA KRAUZEGO
Piotr Urbanski
Libretta oper Zygmunta Krauzego ......................................... 15
Ewa Kowalska-Zaj^c
Ewolucja stylu i techniki kompozytorskiej w tworczosci operowej
Zygmunta Krauzego.........................................................43
Krzysztof Szwajgier
Paradoksy opery minimalistycznej ........................................ 71
Jacek Szerszenowicz
Opery Zygmunta Krauzego w perspektywie medialnej......................... 89
Ziemowit Wojtczak
Beicanto XXI wieku? Jçzyk wokalny w operach Zygmunta Krauzego ........... 123
Piotr Kçdzierski
Wykonania i recepcja oper Zygmunta Krauzego............................. 137
Marek Weiss-Grzesinski
Zygmunt Krauze - zywy kompozytor ....................................... 153
Czçsc druga
ANALIZY: DZIELA OPEROWE ZYGMUNTA KRAUZEGO
Malgorzata Grajter
Trzy jçzyki - trzywersje obsadowe - nieskonczenie wiele mozliwosci:
„Gwiazda” Zygmunta Krauzego ............................................ 159
6
Maja Metelska-Rasanen
„Sila ducha, ktora prowadzi do wyzwolerxia” ~
„Balthazar”Zygmunta Krauzego ......................................... 175
Ryszard Daniel Golianek
„Iwona, ksiqzniczka Burgunda” - gombrowiczowska opera Zygmunta Krauzego ... 187
Marta Szoka
„Polieukt” Zygmunta Krauzego - hymn o tolerancji i wolnosci?...........205
Irina Nikolska
„Pulapka”Zygmunta Krauzego - realizacja kontrastowo-konfliktowej idei
dramaturgicznej........................................................217
Marcin Stanczyk
Idiomatyczne cechy fezyka kompozytorskiego Zygmunta Krauzego
w operze „Olimpia z Gdahska”........................................237
Summary............................................................... 257
Summary
Zygmunt Krauze belongs to a circle of the most important Polish composers of an older
generation. His significant artistic achievements have been captivating and attract-
ing listeners’, critics’ and musicologists’ attention for half a century now. What made
them so appealing were Krauze’s uncompromising nature and separateness” reflected
in references to the idea of non-processual music, devoid of topical allusions, which
determined the stylistics of musical unism, devised by the composer and developed
after painterly unism of Wladyslaw Strzemihski. And even though Krauze started to
gradually depart from that aesthetics in his later works, he is still treated by the Polish
and foreign musical circles first of all as an inventor and key representative of unism
in music.
The first concept for this publication arose from a desire to show a little different,
though still very important creative aspect of the composer’s artistic activity fairly dis-
tant from unism. But the idea behind the book - which spontaneously appeared in the
spring 2015 - also originated, to some extent, in external circumstances. The Senate
and authorities of the Grazyna and Kiejstut Bacewicz Academy of Music in Lodz con-
ferred on Professor Zygmunt Krauze the honorable title of Doctor Honoris Causa.
A solemn conferral ceremony took place during the Academy Festivities on 24 March
2015 and quite soon afterwards the lecturers from the Chair of Music Theory came up
with an idea to finalize this event with a monograph dedicated to Krauze’s works. We
wished to conduct new academic research, dedicated to the artist’s music, to show his
style and aesthetics as well as to honour the Professor, with whom the vast majority of
us (authors of the texts included in the book) have an opportunity to cooperate at the
Academy of Music in Lodz.
Krauze’s artistic output was thoroughly discussed in the monograph by Krystyna
Tamawska-Kaczorowska - Zygmunt Krauze. Between Intellect, Fantasy, Duty and Enter-
tainment (published in Poland in 2001) and that is why we immediately decided to focus
our research, first and foremost, on the composer’s artistic activity pursued in recent
258
Summary
years, in the 21st century already. We chose the opera genre, which actually lay within
the scope of Krauzes interests a bit earlier (his first operatic work entitled The Star
was premiered in 1981) but seems to have fascinated him in particular for the last sev-
eral years. When Krauze was granted the Doctor h.c. title, he had already written five
operas, four of which were premiered in the 21st century. For obvious reasons studies
on that part of the composers output could not be conducted in the book by Tar-
nawska-Kaczorowska and the knowledge concerning his operas presented in that pub-
lication turns out to be fragmentary and of little relevance. What occurred to be an
additional stimulus for undertaking the research on Krauze’s works for musical theatre
was the news brought by the artist himself in the summer 2015 about a new opera, the
sixth one already, being composed by him at the time. The premiere of the work (finally
titled Olympia from Gdansk) took place in November 2015 in Gdansk and almost all
authors of this book appeared there, too. It was a great opportunity for us to observe
the composer at possibly most solemn moment for him - the moment when a new
work is being presented to the audience for the first time. But it was also an enjoyable
time in the professional life of music theorists, musicologists and opera researchers
when a group of several people meets to participate together in the event related to the
subject matter of their studies.
The idea behind the monograph The World ofZygmunt Krauzes Operas is connected
with a two-way presentation of the composer’s operatic works, which translated into
a two-part layout of the book. In the first part - Syntheses: The Opera Work of Zygmunt
Krauze - there are texts whose authors present a deeper reflection on particular aspects
of the artist’s operatic legacy, treating Krauze’s six operas en bloc as a peculiar opus
magnum of his activity to date in the field of musical theatre-related works. The issues
discussed in following texts from that section of the book help readers to get familiar
with the composer’s opera aesthetics, its various aspects and scopes.
The review of issues starts with a study by Piotr Urbanski on libretti for Krauze’s
operas - a thorough analysis of libretto texts in the context of original literary works
helps to not only grasp the manner librettists treated the original (it is noteworthy
that on numerous occasions the composer himself actively participated in the process
of creating libretti) but also to define the understanding of drama that is close to the
author of Polieukt (Polyeucte). A synthetic presentation on the style and compositional
technique by Ewa Kowalska-Zajqc comprises a lengthy overview of the artist s operatic
techniques, applied sound solutions and the manners in which he designed his works.
It turns out that after experimental The Star Krauze commenced the pursuit of his own
style in which he composed subsequent operas and which became his individual con-
cept of understanding that genre.
The next three articles from the first part of the book are dedicated to various inter-
relations between Krauze’s operas and issues concerning opera aesthetics. Krzysztof
Szwajgier discusses composer’s output in terms of minimalist opera, indicating pecu-
liar paradoxes of that opera and displaying the solutions to genre-stylistic dilemmas
applied by the composer. In an insightful essay by Jacek Szerszenowicz, interesting
problems concerning the mediality of Krauze’s operas are discussed - their visual and
theatrical forms; the author also tackles the question of intentional creative visions in
the context of particular theatrical or film productions. Ziemowit Wojtczak, in turn,
Summary
259
refers to the vocal aspect of operatic works, focuses attention on the performance solu-
tions favoured by the composer, his approach to word and its vocal expression, consid-
ering all these questions in a new aesthetic context of the 21st-century understanding
of belcanto.
The first part of the book closes with two texts. Piotr K^dzierski documents perfor-
mances of Krauze’s operas as well as analyzes the response of the press and critics to
world premieres of successive works. What puzzles are polemic, sometimes extremely
diverse opinions of critics as well as different reception of the same operas in Poland
and abroad. The last text from that section, by Marek Weiss-Grzesiriski, is of a little
different character since it is written by an opera director who collaborated with the
composer on the stage production of his theatrical works. Despite understandable
reluctance of the author to reveal the secrets of that cooperation, the text still gives
a chance to learn about important, though generally unavailable, aspects of creating an
operatic work in its final version.
The second part of the monograph - Analyses: The Operatic Works ofZygmunt Krauze
- consists of six articles-chapters, each of which is devoted to a single opera. The reader
interested in a particular work of the composer can treat that part of the publication
as a peculiar guidebook to Krauze’s operas, written in line with the requirements for
academic studies and providing, at the same time, an individual approach of a given
author to the problem. It is worth noting that in opera guidebooks - including the pop-
ular publication A Thousand and One Operas by Piotr Kaminski (Polish edition in 2008)
- it is hard to find any information on Krauze’s works. The reader should also know
that when commencing work on the book, the authors were given freedom in terms of
adopted methods or understanding of the discussed matter. We made an assumption
that individual theatrical works of the artist require an individual research approach
and the diversity of views will contribute to shedding more light on that output.
Malgorzata Grajter discusses The Star, showing its various linguistic and medial
versions that provide numerous staging options and carry significant dramatic-theat-
rical potential. In the study of Balthasar, Maja Metelska-Rasanen focuses mainly on the
ways the composer tackles words and aesthetic questions related to the performance
of the work. In the study on Ivona, Princess ofBurgundia by Ryszard Daniel Golianek, it
is a comparative perspective that predominates and the content of the opera is referred
to the original version by Gombrowicz. Marta Szoka examines ideological aspects of
Polieukt (Polyeucte), also pointing at sound solutions and manners of text treatment
typical of the composer. The study on The Trap by Irina Nikolska, in turn, aims to thor-
oughly analyse the dramaturgy of the work, ways in which the composer highlights
the aesthetic and, particularly, ethical contents. When reading an article on Olympia
from Gdansk by Marcin Stanczyk, one can notice a consistent use of specific technical
and dramatic resources in the composer’s last, as for now, opera. In-depth knowledge
of Krauze s works helps Stanczyk to make certain findings of synthetic nature, defining
the idiom of the artist’s operatic music.
The presented layout of the book gives a chance - as it might be assumed - to look
at the foregoing operatic output of Krauze from a many-sided and broad perspective.
The obvious climax of the artist’s interest in opera within the first 15 years of the 21st
century reveals his fascination with the potential of opera theatre and brings hope
260 | Summary
that the composer still has not said his last word in that field and he will continue
writing operas with a similar passion. We also do hope that this book - bridging, by the
authors’ intention, an obvious gap in the research on contemporary Polish opera - will
soon require continuation. And that is what we should just wish the composer and all
the authors.
Ryszard Daniel Golianek
(translated by Elzbieta Fesnak-Przybylska)
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| title | Świat oper Zygmunta Krauzego |
| title_auth | Świat oper Zygmunta Krauzego |
| title_exact_search | Świat oper Zygmunta Krauzego |
| title_full | Świat oper Zygmunta Krauzego pod redakcją Ryszarda Daniela Golianka |
| title_fullStr | Świat oper Zygmunta Krauzego pod redakcją Ryszarda Daniela Golianka |
| title_full_unstemmed | Świat oper Zygmunta Krauzego pod redakcją Ryszarda Daniela Golianka |
| title_short | Świat oper Zygmunta Krauzego |
| title_sort | swiat oper zygmunta krauzego |
| topic | Krauze, Zygmunt 1938- (DE-588)123716144 gnd Oper (DE-588)4043582-9 gnd |
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