The article is an invitation to reflect on the theme of money and the role of economic incentives in the creative act. Pointing to the abundant presence of the theme of money in opera plots, the author proposes to study the economics of creativity of particular composers taking account of the various valuations of money expressed in their works. The ground for such reflection is set forth by the comparison of two operas that express two extreme views on money and its role for creativity: Gioacchino Rossini’s The Barber of Seville and Richard Wagner’s The Ring of the Nibelung. Comparing different ways in which Figaro and Alberich approach money provides a starting point for the comparison of two creative acts that can be found in the two works: Figaro’s invention of a creative solution for Almaviva’s problem (affirmation of money) and Siegfried’s forging of a sword accompanied by Mime’s efforts to make a sleeping potion (rejection of money). The analysis of the musical form of the two scenes, however, shows the indebtedness of Wagner to Rossini. Although Wagner openly rejects the musical principles of his Italian predecessor, the dramaturgy of his music is based on the dramaturgical formulas developed in Italian operas. The two approaches towards money can be linked to the opposing views of Adam Smith and Karl Marx regarded as fathers of the classical and Marxian schools of political economy. Thus, the two operas can be seen as border posts of the territory in which music and economy intersect.
{"title":"Między \"Cyrulikiem sewilskim\" a \"Pierścieniem Nibelunga\". Przyczynek do muzycznej refleksji o pieniądzu i ekonomii twórczości","authors":"Paweł Siechowicz","doi":"10.14746/rfn.2021.22.11","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.11","url":null,"abstract":"The article is an invitation to reflect on the theme of money and the role of economic incentives in the creative act. Pointing to the abundant presence of the theme of money in opera plots, the author proposes to study the economics of creativity of particular composers taking account of the various valuations of money expressed in their works. The ground for such reflection is set forth by the comparison of two operas that express two extreme views on money and its role for creativity: Gioacchino Rossini’s The Barber of Seville and Richard Wagner’s The Ring of the Nibelung. Comparing different ways in which Figaro and Alberich approach money provides a starting point for the comparison of two creative acts that can be found in the two works: Figaro’s invention of a creative solution for Almaviva’s problem (affirmation of money) and Siegfried’s forging of a sword accompanied by Mime’s efforts to make a sleeping potion (rejection of money). The analysis of the musical form of the two scenes, however, shows the indebtedness of Wagner to Rossini. Although Wagner openly rejects the musical principles of his Italian predecessor, the dramaturgy of his music is based on the dramaturgical formulas developed in Italian operas. The two approaches towards money can be linked to the opposing views of Adam Smith and Karl Marx regarded as fathers of the classical and Marxian schools of political economy. Thus, the two operas can be seen as border posts of the territory in which music and economy intersect.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130497585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The subject of the article is a comparison of the process of transformations of the tonal-harmonic structure in the works of Alexander Scriabin and Charles Tournemire in relation to the narrative archetype of the mystical union. The justification for comparing these aspects of the work of these two composers is their development of a similar harmonic idiom, which they used to symbolically justify diametrically opposed worldviews. Scriabin’s work is considered a breakthrough for European music culture, whereas Tournemire’s is still little known. Just as the former assumed the role of composer-philosopher, the latter became a musical theologian. Tournemire, organist of the St. Clotilde basilica in Paris, initiated the tradition of musical homiletics, in which the central persuasive element, similar to the Gospel parable, was the musical narrative trajectory. Its climax was the mystical chord. However, a comparative analysis of harmonic structures, topics, narrative trajectories, shows the limits of semantization that differentiates aesthetic postulates and analogous narrative constructions, the nodal moment of which are created by the union of polarization elements.
{"title":"Trajektoria tonalno-harmoniczna jako wyraz archetypu narracyjnego unii mistycznej w twórczości Charles’a Tournemire’a i Aleksandra Skriabina","authors":"Bogusław Raba","doi":"10.14746/rfn.2021.22.10","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.10","url":null,"abstract":"The subject of the article is a comparison of the process of transformations of the tonal-harmonic structure in the works of Alexander Scriabin and Charles Tournemire in relation to the narrative archetype of the mystical union. The justification for comparing these aspects of the work of these two composers is their development of a similar harmonic idiom, which they used to symbolically justify diametrically opposed worldviews. Scriabin’s work is considered a breakthrough for European music culture, whereas Tournemire’s is still little known. Just as the former assumed the role of composer-philosopher, the latter became a musical theologian. Tournemire, organist of the St. Clotilde basilica in Paris, initiated the tradition of musical homiletics, in which the central persuasive element, similar to the Gospel parable, was the musical narrative trajectory. Its climax was the mystical chord. However, a comparative analysis of harmonic structures, topics, narrative trajectories, shows the limits of semantization that differentiates aesthetic postulates and analogous narrative constructions, the nodal moment of which are created by the union of polarization elements.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124250648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper is focused on analysing three texts: a letter from Zygmunt Mycielski to Michal Bristiger dated 15/16 March 1954, the latter’s answer from the beginning of April 1954, and Michal Bristiger’s article in Przegląd Kulturalny titled Andrzej Panufnik. Rozważania bez hagiografii [Andrzej Panufnik. Reflections without hagiography] which is the subject of the correspondence. The main topic of this dialogue is the question whether Panufnik’s oeuvre is grounded in socialist realist doctrine and whether the composer and his work were victimised by the communist system. In the paper the author also analyses the neoclassical views of the composers, Panufnik and Mycielski, and examines one of their strategies – relating to the great European traditions and re-defining the aims of socialist realism by promoting folklore.
本文主要分析了三个文本:Zygmunt Mycielski于1954年3月15日至16日给michael Bristiger的一封信，后者在1954年4月初的回复，以及michael Bristiger在Przegląd Kulturalny上题为Andrzej Panufnik的文章。Rozważania bez hagiografii [Andrzej Panufnik]。反思，而不是传记]这是通信的主题。这次对话的主要主题是帕努夫尼克的作品是否基于社会主义现实主义，以及这位作曲家和他的作品是否受到共产主义制度的迫害。本文还分析了作曲家帕努夫尼克和米切尔斯基的新古典主义观点，并考察了他们的策略之一——与伟大的欧洲传统联系起来，通过促进民间传说来重新定义社会主义现实主义的目标。
{"title":"Zygmunt Mycielski – Michał Bristiger. Dialogi z Andrzejem Panufnikiem i socrealizmem w tle","authors":"Michał Klubiński","doi":"10.14746/rfn.2021.22.1","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.1","url":null,"abstract":"The paper is focused on analysing three texts: a letter from Zygmunt Mycielski to Michal Bristiger dated 15/16 March 1954, the latter’s answer from the beginning of April 1954, and Michal Bristiger’s article in Przegląd Kulturalny titled Andrzej Panufnik. Rozważania bez hagiografii [Andrzej Panufnik. Reflections without hagiography] which is the subject of the correspondence. The main topic of this dialogue is the question whether Panufnik’s oeuvre is grounded in socialist realist doctrine and whether the composer and his work were victimised by the communist system. In the paper the author also analyses the neoclassical views of the composers, Panufnik and Mycielski, and examines one of their strategies – relating to the great European traditions and re-defining the aims of socialist realism by promoting folklore.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133349689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s book subjects for the first time to such complex scholarly interpretation.
本文讨论了Siglin Bruhn的书《Dunkel ist das Leben》。马勒与潘德列茨基(2020)。它总结了本书的主要论点，即关于短暂性的选定交响曲的内容(马勒，泽姆林斯基，肖斯塔科维奇，潘德列茨基)和方法论决定，主要基于在反映诗歌正式结构的特定排版安排中显示的声乐线进行分析。这篇评论特别侧重于分析克日什托夫·潘德列茨基(krzysztofpenderecki)的两首晚期声乐交响曲(第六交响曲和第八交响曲)，这是西格林德·布鲁恩的书首次对这两首交响曲进行如此复杂的学术解释。
{"title":"Siglind Bruhn i pieśniowe symfonie o przemijaniu","authors":"Marcin Trzęsiok","doi":"10.14746/rfn.2021.22.13","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.13","url":null,"abstract":"This article discusses Siglin Bruhn’s book “Dunkel ist das Leben”. Liedsinfonien zur Vergänglichkeit von Mahler bis Penderecki (2020). It summarises the main theses of the book, i.e., the content of the selected symphonies about transience (Mahler, Zemlinsky, Shostakovich, Penderecki) and the methodological decision to base analyses primarily on the vocal line shown in a particular typographic arrangement that reflects the formal structure of poetry. The review focuses specifically on the analyses of two late vocal symphonies by Krzysztof Penderecki (Sixths and Eighth), which Siglind Bruhn’s book subjects for the first time to such complex scholarly interpretation.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115567232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Michał Bristiger took a fragment from the book La musique et la vie interieure by L. Bourguès and A. Denéréaz published in 1921, translated it under the title Chopin, and published it in “De musica” vol. I–III in 2006. The authors, who represented energo-psychological research approach, a theory that was being promoted at that time (H. Mersman, Angewandte Musikaesthetik, 1926 and E. Kurth, Musikpsychologie), provided a psychological and musical interpretation of Chopin’s melodics (linked to harmony and texture), and their significance in the integration of form. They distinguish such categories as c o n t i n u i t y and p e n d u l u m m o t i o n, or undulating, wave-like movements that expand and lead to a culmination, the outflow from which takes the form of, for example, a gliding flight, “plané”. They describe Chopin’s imagination as ballistic. Previous research had focused exclusively on the microstructures of melody, on characteristic intervals, typical phrases, expressive gestures, and not on the flow, on the impulses in the creation of contrast, on the rising and falling of the melodic line, and for this reason the Chopin chapter in this book remains a source of inspiration to this day.
{"title":"Chopin w tłumaczeniu Michała Bristigera w „De Musica” na podstawie książki Luciena Bourguèsa i Alexandre’a Denéréaza","authors":"Irena Poniatowska","doi":"10.14746/rfn.2021.22.2","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.2","url":null,"abstract":"Michał Bristiger took a fragment from the book La musique et la vie interieure by L. Bourguès and A. Denéréaz published in 1921, translated it under the title Chopin, and published it in “De musica” vol. I–III in 2006. The authors, who represented energo-psychological research approach, a theory that was being promoted at that time (H. Mersman, Angewandte Musikaesthetik, 1926 and E. Kurth, Musikpsychologie), provided a psychological and musical interpretation of Chopin’s melodics (linked to harmony and texture), and their significance in the integration of form. They distinguish such categories as c o n t i n u i t y and p e n d u l u m m o t i o n, or undulating, wave-like movements that expand and lead to a culmination, the outflow from which takes the form of, for example, a gliding flight, “plané”. They describe Chopin’s imagination as ballistic. Previous research had focused exclusively on the microstructures of melody, on characteristic intervals, typical phrases, expressive gestures, and not on the flow, on the impulses in the creation of contrast, on the rising and falling of the melodic line, and for this reason the Chopin chapter in this book remains a source of inspiration to this day.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134540689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lasy deszczowe [Rainforests] is, as Grażyna Pstrokońska-Nawratil said, “an attempt to capture the endangered beauty, stop the increasingly rushing time, it is a symbolic and personal work”. The piece came into being in 2013. The inspiration for the structure of this composition was ancient tragedy. In the case of Lasy deszczowe, the main characters, whose fate was sealed, are elements of nature – trees, humming birds and river. The composer wanted to depict one day from a rainforest’s life – from the time before daybreak till twilight. This article will discuss the genesis of the composition, musical and nonmusical media of programmacity, as well as narration in this concerto.
{"title":"Ginący świat – \"Lasy deszczowe\" z cyklu \"Ekomuzyka\" Grażyny Pstrokońskiej-Nawratil","authors":"K. Bartos","doi":"10.14746/rfn.2021.22.7","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.7","url":null,"abstract":"Lasy deszczowe [Rainforests] is, as Grażyna Pstrokońska-Nawratil said, “an attempt to capture the endangered beauty, stop the increasingly rushing time, it is a symbolic and personal work”. The piece came into being in 2013. The inspiration for the structure of this composition was ancient tragedy. In the case of Lasy deszczowe, the main characters, whose fate was sealed, are elements of nature – trees, humming birds and river. The composer wanted to depict one day from a rainforest’s life – from the time before daybreak till twilight. This article will discuss the genesis of the composition, musical and nonmusical media of programmacity, as well as narration in this concerto.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"236 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133501456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study examines Ligeti’s “stylistic revolution” as well as the nonsense aspects of the composition and introduces an original analysis of Ligeti’s musical nonsense inspired by the literary analysis of nonsense by Susan Stewart.The Nonsense Madrigals by György Ligeti take part in a kind of “stylistic revolution” in Ligeti’s style and are the result of his passionate research on African polyrhythms and its contribution to his music. What Ligeti intended to create in those periods was a superimposition of different rhythmic and melodic patterns in such a way that they could fuse together in an illusory chaos. However, there is also an ancient order that governs this new approach: the old masters such as Philippe de Vitry, Johannes Okeghem or Johannes Ciconia and their compositional techniques became the base of mixing the old western styles with the traditional music of Central Africa, so that the new and authentic compositional idea could blossom. The copious sketches of the Nonsense Madrigals, stored at the Paul Sacher Stiftung in Basel, reveal that the preparatory brainstorming involved also many other inspirations such as Balkan and oriental music, jazz, and some of Ligeti’s own compositions. The combination of the old and the new without using concrete models but just drawing inspiration marks a new approach among Ligeti’s contemporaries.
{"title":"Nonsense Madrigals by György Ligeti: The Musical Sense of Nonsense between Chaos and Order","authors":"Monika Prusak","doi":"10.14746/rfn.2021.22.5","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.5","url":null,"abstract":"The study examines Ligeti’s “stylistic revolution” as well as the nonsense aspects of the composition and introduces an original analysis of Ligeti’s musical nonsense inspired by the literary analysis of nonsense by Susan Stewart.The Nonsense Madrigals by György Ligeti take part in a kind of “stylistic revolution” in Ligeti’s style and are the result of his passionate research on African polyrhythms and its contribution to his music. What Ligeti intended to create in those periods was a superimposition of different rhythmic and melodic patterns in such a way that they could fuse together in an illusory chaos. However, there is also an ancient order that governs this new approach: the old masters such as Philippe de Vitry, Johannes Okeghem or Johannes Ciconia and their compositional techniques became the base of mixing the old western styles with the traditional music of Central Africa, so that the new and authentic compositional idea could blossom. The copious sketches of the Nonsense Madrigals, stored at the Paul Sacher Stiftung in Basel, reveal that the preparatory brainstorming involved also many other inspirations such as Balkan and oriental music, jazz, and some of Ligeti’s own compositions. The combination of the old and the new without using concrete models but just drawing inspiration marks a new approach among Ligeti’s contemporaries.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132793657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The special relationship that developed during the second half of the 1920s between Karol Szymanowski and Zygmunt Mycielski, composers from two different generations, lasted until Szymanowski’s death in 1937. In this relationship there was a combination of experience, wisdom and knowledge, identified with the position of the master, and supported by his having overcome the reluctance to share them with a young novice in composition, just entering the field of music.The attitude of the pupil often lacked the usual boundless trust in themaster, compensated for by Mycielski through enormous respect and fascination with Szymanowski’s stance.The two composers were linked by background, respect for tradition, and by dramatic events which at different moments inhistory deprived them of contact with the material heritage of their ancestors. The bond they built between them turned not only into deep friendship but also a special kind of spiritual closeness. They affirmed each other in their roles, giving this bond an almost symbolic dimension.
{"title":"„Mistrz musi potwierdzić ucznia, uczeń potwierdza mistrza w jego roli i pozycji”. O relacjach Karola Szymanowskiego i Zygmunta Mycielskiego","authors":"Barbara Mielcarek-Krzyżanowska","doi":"10.14746/rfn.2021.22.3","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.3","url":null,"abstract":"The special relationship that developed during the second half of the 1920s between Karol Szymanowski and Zygmunt Mycielski, composers from two different generations, lasted until Szymanowski’s death in 1937. In this relationship there was a combination of experience, wisdom and knowledge, identified with the position of the master, and supported by his having overcome the reluctance to share them with a young novice in composition, just entering the field of music.The attitude of the pupil often lacked the usual boundless trust in themaster, compensated for by Mycielski through enormous respect and fascination with Szymanowski’s stance.The two composers were linked by background, respect for tradition, and by dramatic events which at different moments inhistory deprived them of contact with the material heritage of their ancestors. The bond they built between them turned not only into deep friendship but also a special kind of spiritual closeness. They affirmed each other in their roles, giving this bond an almost symbolic dimension.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132483146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this discussion is to demonstrate manifestations of reductionism in the works of Henryk Mikołaj Górecki. In order to achieve this the article compares conclusions based on analyses of three works for the flute by Górecki composed during the same decade – For you, Anne-Lill op. 58 for flute and piano (1986), Good Night op. 63 for soprano, alto flute, piano and three tam-tams (1990) as well as Valentine Piece op. 70 for flute and bell (1996). The part of the flute is analysed in particular detail – the way it is shaped, its type of narration, and its relation to other instruments. The article is in two parts: the first outlines the tendencies in flute compositions in 20 th century in Poland and in the world, while the second part presents analyses of selected flute compositions by Górecki. The conclusions point to Górecki having an individual approach to using the flute as a solo instrument or as part of a group of instruments in a chamber composition, as well as to cohesiveness of the development of flute compositions against the background of the composer’s stylistic evolution as a whole.
{"title":"Redukcjonizm w twórczości fletowej Henryka Mikołaja Góreckiego z lat 1986–1996","authors":"W. Kassner","doi":"10.14746/rfn.2021.22.8","DOIUrl":"https://doi.org/10.14746/rfn.2021.22.8","url":null,"abstract":"The aim of this discussion is to demonstrate manifestations of reductionism in the works of Henryk Mikołaj Górecki. In order to achieve this the article compares conclusions based on analyses of three works for the flute by Górecki composed during the same decade – For you, Anne-Lill op. 58 for flute and piano (1986), Good Night op. 63 for soprano, alto flute, piano and three tam-tams (1990) as well as Valentine Piece op. 70 for flute and bell (1996). The part of the flute is analysed in particular detail – the way it is shaped, its type of narration, and its relation to other instruments. The article is in two parts: the first outlines the tendencies in flute compositions in 20 th century in Poland and in the world, while the second part presents analyses of selected flute compositions by Górecki. The conclusions point to Górecki having an individual approach to using the flute as a solo instrument or as part of a group of instruments in a chamber composition, as well as to cohesiveness of the development of flute compositions against the background of the composer’s stylistic evolution as a whole.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116035503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrzej Krzanowski’s compositions, particularly those written at the beginning of his creative journey, are still sidelined by researchers and performers. The article describes his Pieśni północne [Northern songs] (1973) for eight-voice mixed choir a cappella, to words by Kazimierz Ratoń, composed while he was a student in the class of Henryk Mikołaj Górecki. The axis of interpretation is provided by two strands: the meaning of the text and its relationship with the musical means of expression, as well as selected musical aspects such as scales, form and references to other compositions.
安杰伊·克扎诺夫斯基的作品，尤其是那些在他创作之初创作的作品，仍然被研究人员和表演者边缘化。这篇文章描述了他的Pieśni północne[北方歌曲](1973年)，为八声混声合唱团无伴奏合唱，由Kazimierz ratoski作曲，当时他是Henryk Mikołaj Górecki班的学生。解读的轴心由两条线提供:文本的意义及其与音乐表达方式的关系，以及选定的音乐方面，如音阶、形式和对其他作品的参考。
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