The article focuses on issues of microhistory and the usefulness of this historiographical practice in musicological research. The author begins by presenting the key issues relating to microhistory, referring extensively to the book What Is Microhistory? by István M. Szijártó and Sigurður Gylfi Magnússon. She then quotes and briefly discusses the most significant musicological works which employed microhistorical strategy. These are Mark Everist’s book Music Drama at the Paris Odéon, 1824–1828, Tamara Levitz’s Modernist Mysteries: Perséphone and Peter J. Schmelz’s article “Shostakovich” Fights the Cold War: Reflections from Great to Small. The main part of the text is devoted to Mark Ferraguto’s monograph Beethoven 1806. That publication is wholly based on the microhistorical approach, thus open- ing a new perspective in reflection on the instrumental works by the Master from Bonn. Ferraguto analyses Beethoven’s works from 1806 and early 1807 in the context of the people and the instruments for which they were composed; he also explores the nature of and reasons for the composer’s retreat from the „heroic phase”, analysing various aspects of contemporary musical, social and political life in Vienna. He does so while concentrating on selected, characteristic moments which define the given opus. Unlike the earlier musicological works based on the microhistorical strategy, Ferraguto’s monograph is not overburdened with detail, but makes an excellent job of linking contextual issues with analysis of musical composition. In this way it enriches musicological research by providing it with a new, interesting dimension.
本文着重讨论微观历史的问题，以及这种史学实践在音乐学研究中的作用。作者首先介绍了与微历史相关的关键问题，广泛参考了《什么是微历史?》作者:István M. Szijártó和Sigurður Gylfi Magnússon。然后，她引用并简要讨论了运用微观历史策略的最重要的音乐学作品。这些是马克·埃弗里斯特的书《巴黎奥德赛，1824-1828》、塔玛拉·莱维茨的《现代主义的奥秘:奥德赛》和彼得·j·施梅尔茨的文章《肖斯塔科维奇与冷战作斗争:从大到小的反思》。正文的主要部分是马克·费拉古托的专著《贝多芬1806》。该出版物完全以微观历史方法为基础，从而为反思波恩大师的器乐作品开辟了新的视角。费拉古托分析了贝多芬1806年至1807年初的作品，从人物和乐器的角度来分析这些作品;他还探讨了作曲家从“英雄阶段”撤退的本质和原因，分析了维也纳当代音乐、社会和政治生活的各个方面。他这样做的同时，专注于选定的、有特色的时刻，这些时刻定义了给定的作品。与早期基于微观历史策略的音乐学作品不同，费拉古托的专著没有过多的细节，而是出色地将背景问题与音乐创作分析联系起来。通过这种方式，它丰富了音乐学研究，为它提供了一个新的、有趣的维度。
{"title":"Beethoven jako aktor historyczny. Perspektywa mikrohistoryczna w muzykologii","authors":"Bogumiła Mika","doi":"10.14746/rfn.2020.21.9","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.9","url":null,"abstract":"The article focuses on issues of microhistory and the usefulness of this historiographical practice in musicological research. The author begins by presenting the key issues relating to microhistory, referring extensively to the book What Is Microhistory? by István M. Szijártó and Sigurður Gylfi Magnússon. She then quotes and briefly discusses the most significant musicological works which employed microhistorical strategy. These are Mark Everist’s book Music Drama at the Paris Odéon, 1824–1828, Tamara Levitz’s Modernist Mysteries: Perséphone and Peter J. Schmelz’s article “Shostakovich” Fights the Cold War: Reflections from Great to Small. The main part of the text is devoted to Mark Ferraguto’s monograph Beethoven 1806. That publication is wholly based on the microhistorical approach, thus open- ing a new perspective in reflection on the instrumental works by the Master from Bonn. Ferraguto analyses Beethoven’s works from 1806 and early 1807 in the context of the people and the instruments for which they were composed; he also explores the nature of and reasons for the composer’s retreat from the „heroic phase”, analysing various aspects of contemporary musical, social and political life in Vienna. He does so while concentrating on selected, characteristic moments which define the given opus. Unlike the earlier musicological works based on the microhistorical strategy, Ferraguto’s monograph is not overburdened with detail, but makes an excellent job of linking contextual issues with analysis of musical composition. In this way it enriches musicological research by providing it with a new, interesting dimension.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"117 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124927783","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 the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs.Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.
{"title":"Pieśni masowe Władysława Szpilmana w kontekście dorobku piosenkarskiego kompozytora","authors":"Kamila Staśko-Mazur","doi":"10.14746/rfn.2020.21.3","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.3","url":null,"abstract":"The aim of the paper is to analyse songs written by Władysław Szpilman during the socialist realism period in the context of the composer’s songwriting achievements. Szpilman’s first hit songs were published as early as the 1930s, and they were followed by others over a period of nearly half a century. The available archival, phonographic and sheet music sources provide information about more than 300 titles which include popular songs, songs for mass performance, for children, for plays and theatrical broadcasts, films and cabarets. The dominant group is that of popular songs and songs for the stage (on themes of love). The group of songs written during the years 1948–56, regarded as mass songs, has distinctive formal features, different musical conceptions, and alongside the march form it includes mostly dance forms (foxtrots, waltzes, polkas, tangos), with the kind of vitality and musical quality that turned them into popular entertainment pieces often achieving the status of hits. In their textual layer the songs are differentiated as well (themes of rebuilding the country, peace, love, work). Evidence of the reception of mass songs shows that they were regarded positively, often as heartening, described as enslaving in view of the context of the performance of selected songs.Popular songs are also characterised by diversity of form and arrangement, differentiated in terms of performance scoring and style (more than 850 archival records). The variety of musical techniques used in this genre, alongside the songs’ melodiousness, ensure that they have a permanent place in the soundscape of the twentieth century.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133984419","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}
From the end of the 1950s, the West German publisher Moeck officially represented the state-led music publishing house PWM ‘in the West’ with the permission of the Polish Ministry of Culture. Beside the distribution of score editions and orchestral performance materials by the PWM, Moeck also represented the interests of Polish composers in the Federal Republic of Germany directly in his own catalogue. Among the first authors of the new series of editions were Kotoński, Lutosławski, Penderecki, Serocki and Szalonek. They belonged to a circle that regularly participated in West German musical life in the 1960s. Despite the spirit of optimism and advantages for the composers, this cooperation also led to problems on several levels. These included the billing of performance materials and the handling of international copyright. This made the participants aware of various limits and led to conflicts – especially on the Polish side. Translation of Polish texts in vocal works into German and English was also not as straightforward as originally planned. The article offers new insights into Polish–German cooperation in the cultural field of music, which went on despite the difficult relationship between the two states then and also beyond the borders of the Cold War.
{"title":"Polish Music Published by Moeck 1958 to 1967 – a (Failed?) Transfer from East to West","authors":"Sebastian Borchers","doi":"10.14746/rfn.2020.21.4","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.4","url":null,"abstract":"From the end of the 1950s, the West German publisher Moeck officially represented the state-led music publishing house PWM ‘in the West’ with the permission of the Polish Ministry of Culture. Beside the distribution of score editions and orchestral performance materials by the PWM, Moeck also represented the interests of Polish composers in the Federal Republic of Germany directly in his own catalogue. Among the first authors of the new series of editions were Kotoński, Lutosławski, Penderecki, Serocki and Szalonek. They belonged to a circle that regularly participated in West German musical life in the 1960s. Despite the spirit of optimism and advantages for the composers, this cooperation also led to problems on several levels. These included the billing of performance materials and the handling of international copyright. This made the participants aware of various limits and led to conflicts – especially on the Polish side. Translation of Polish texts in vocal works into German and English was also not as straightforward as originally planned. The article offers new insights into Polish–German cooperation in the cultural field of music, which went on despite the difficult relationship between the two states then and also beyond the borders of the Cold War.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129147469","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 the paper is to reconsider the question of usefulness of the category of isotopy in semiotic analysis of a musical composition, on the example of Zygmunt Krauze’s Arabesque (1983) for prepared piano and instrumental ensemble. Adopting a suggestion by Nicolas Meeùs, the author undertakes an attempt to transpose Rastier’s differentiation between semantic isotopy and isotopy of the plane of expression (isotopie de l’expression) into analysis of music. Following Michel Arrivé, she presents a model example of isotopic relations in the plane of expression (signifiant) from the novel Les jours et les nuits (Days and Nights) by Alfred Jarry, and finds that isotopy of the plane of expression is for linguistic semioticians an alternative to semantic isotopy in providing cohesiveness in the layer of signs that construct meaning. She then discusses the extent of application of isotopy in music semiotics and draws attention to the semantic capacity of this category in Eero Tarasti’s theory and interpretive practice, where it undergoes metaphorisation and a kind of universalisation. She also refers to the proposal of Jean-Pierre Bartoli to use isotopy in analysing Orientalistic exoticism, which constitutes an example of a return to the level of the simplest constitutive units and the condition of their iteration, i.e., to the structuralistic-semiotic conceptions of isotopy in the approach of Greimas. Moving on to an analysis of Krauze’s composition, the author puts forward the view that Rastier’s categories of isotopy of the plane of expression as „conditions of grammaticality” (conditions de grammaticalité) of an utterance can only apply to specific cases of compositional techniques which are utterances in systemic „musical languages”, and this condition is not met in the case of the work analysed. The argumentation presented in the article is based on an analysis of particular features of the organisation of the sound material, the texture and syntax of Arabesque, as well as references to the composer’s claim to have been inspired by the mystical paintings of Władysław Strzemiński and the oriental connotations of arabesqueness in music. In seeking the musical meaning of Krauze’s Arabesque the author focuses on identifying its intentio operis.
本文的目的是重新考虑同位素类别在音乐作品符号学分析中的有用性问题，以齐格蒙特·克劳兹(Zygmunt Krauze)的Arabesque(1983)为例，用于准备钢琴和器乐合奏。在尼古拉斯Meeùs的建议下，作者试图将拉斯蒂尔对语义同位素和表达面同位素的区分(isotopie de l 'expression)转化为对音乐的分析。继Michel arriv之后，她从Alfred Jarry的小说《Les jours et Les nuits》中提出了表达平面(意义)中同位素关系的典型例子，并发现表达平面的同位素对于语言符号学家来说是语义同位素的替代品，可以在构建意义的符号层中提供凝聚性。然后，她讨论了同位素在音乐符号学中的应用程度，并注意到这一类别在埃罗·塔拉斯蒂的理论和解释实践中的语义能力，在那里它经历了隐喻和一种普遍化。她还提到让-皮埃尔·巴托利(Jean-Pierre Bartoli)提出的使用同位素分析东方异域主义的建议，这是回归到最简单构成单位及其迭代条件水平的一个例子，即回归到格莱马斯方法中同位素的结构主义-符码概念。接着对克劳兹的作曲进行分析，作者提出，拉斯蒂尔将表达平面的“语法条件”(conditions de grammaticalit)归类为话语的“语法条件”，只适用于构成技巧的特定情况，即系统的“音乐语言”中的话语，而所分析的作品并不符合这一条件。文章中提出的论点是基于对声音材料组织的特定特征的分析，阿拉伯式的结构和句法，以及参考作曲家声称受到Władysław Strzemiński神秘绘画的启发和阿拉伯式音乐的东方内涵。在探寻克劳泽的《阿拉伯式》的音乐意义时，作者着重于对其歌剧意旨的识别。
{"title":"Izotopie w praktyce analizy dzieła muzycznego – na przykładzie \"Arabesque\" Zygmunta Krauzego","authors":"Renata Skupin","doi":"10.14746/rfn.2020.21.8","DOIUrl":"https://doi.org/10.14746/rfn.2020.21.8","url":null,"abstract":"The aim of the paper is to reconsider the question of usefulness of the category of isotopy in semiotic analysis of a musical composition, on the example of Zygmunt Krauze’s Arabesque (1983) for prepared piano and instrumental ensemble. Adopting a suggestion by Nicolas Meeùs, the author undertakes an attempt to transpose Rastier’s differentiation between semantic isotopy and isotopy of the plane of expression (isotopie de l’expression) into analysis of music. Following Michel Arrivé, she presents a model example of isotopic relations in the plane of expression (signifiant) from the novel Les jours et les nuits (Days and Nights) by Alfred Jarry, and finds that isotopy of the plane of expression is for linguistic semioticians an alternative to semantic isotopy in providing cohesiveness in the layer of signs that construct meaning. She then discusses the extent of application of isotopy in music semiotics and draws attention to the semantic capacity of this category in Eero Tarasti’s theory and interpretive practice, where it undergoes metaphorisation and a kind of universalisation. She also refers to the proposal of Jean-Pierre Bartoli to use isotopy in analysing Orientalistic exoticism, which constitutes an example of a return to the level of the simplest constitutive units and the condition of their iteration, i.e., to the structuralistic-semiotic conceptions of isotopy in the approach of Greimas. Moving on to an analysis of Krauze’s composition, the author puts forward the view that Rastier’s categories of isotopy of the plane of expression as „conditions of grammaticality” (conditions de grammaticalité) of an utterance can only apply to specific cases of compositional techniques which are utterances in systemic „musical languages”, and this condition is not met in the case of the work analysed. The argumentation presented in the article is based on an analysis of particular features of the organisation of the sound material, the texture and syntax of Arabesque, as well as references to the composer’s claim to have been inspired by the mystical paintings of Władysław Strzemiński and the oriental connotations of arabesqueness in music. In seeking the musical meaning of Krauze’s Arabesque the author focuses on identifying its intentio operis.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128822586","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 article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.
{"title":"Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany","authors":"Teresa Malecka","doi":"10.14746/rfn.2019.20.1","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.1","url":null,"abstract":"The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117180096","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 is a voice in a discussion on the subject of the field of values within which twentieth-century music developed. The author under-takes a polemic with Alicja Jarzębska, who in her book Spór o piękno muzyki [Argument over the Beauty of Music] put forward the thesis that the musical culture of the previous century was caught up in a struggle between two antinomic visions of reality: it was faced with a choice between Christian Platonism and post-Christian existentia-lism, i.e., a conglomerate of pantheism, prometheism, influences from beyond Europe, nihilism, dehumanisation, ideological seductions and cynicism. In response to this thesis the article proposes a reflection on the causes of the axiological instability and the drama that left its mark on the music of the last century. This drama – and this is the main thesis of the essay – results from the conflict between tradition and the modern natural and historical sciences. This conflict brings about a profound change in the response to the world and the arti-stic imagination: the centre is no longer the perfection of the Idea or Creation, but the mystery of the suffering integral to the nature of existence. Such a perspective means that the picture of twentieth-century music forms a configuration significantly different from that proposed by Jarzębska.
这是关于20世纪音乐发展的价值领域的讨论中的一个声音。作者与Alicja Jarzębska展开了争论，Alicja Jarzębska在她的书Spór o piękno muzyki[关于音乐之美的争论]中提出了这样的论点:上个世纪的音乐文化陷入了两种对立的现实观之间的斗争:它面临着在基督教柏拉图主义和后基督教存在主义之间做出选择，后者是泛神论、唯神论、欧洲以外的影响、虚无主义、非人化、意识形态诱惑和犬儒主义的混合体。针对这一论点，本文提出了对价值不稳定的原因和戏剧在上个世纪的音乐中留下印记的反思。这出戏剧——这也是本文的主要论点——源于传统科学与现代自然科学和历史科学之间的冲突。这种冲突导致对世界和艺术想象的反应发生了深刻的变化:中心不再是理想或创造的完美，而是存在本质中不可或缺的痛苦的神秘。这样的观点意味着，20世纪音乐的图景形成了一种与Jarzębska所提出的格局截然不同的格局。
{"title":"Spór o dziedzictwo muzyczne XX wieku","authors":"Marcin Trzęsiok","doi":"10.14746/rfn.2019.20.7","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.7","url":null,"abstract":"This is a voice in a discussion on the subject of the field of values within which twentieth-century music developed. The author under-takes a polemic with Alicja Jarzębska, who in her book Spór o piękno muzyki [Argument over the Beauty of Music] put forward the thesis that the musical culture of the previous century was caught up in a struggle between two antinomic visions of reality: it was faced with a choice between Christian Platonism and post-Christian existentia-lism, i.e., a conglomerate of pantheism, prometheism, influences from beyond Europe, nihilism, dehumanisation, ideological seductions and cynicism. In response to this thesis the article proposes a reflection on the causes of the axiological instability and the drama that left its mark on the music of the last century. This drama – and this is the main thesis of the essay – results from the conflict between tradition and the modern natural and historical sciences. This conflict brings about a profound change in the response to the world and the arti-stic imagination: the centre is no longer the perfection of the Idea or Creation, but the mystery of the suffering integral to the nature of existence. Such a perspective means that the picture of twentieth-century music forms a configuration significantly different from that proposed by Jarzębska.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134362074","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}
One can point to numerous manifestations of the sphere of sacrum in Luciano Berio’s stage works. It is created in the works of the Italian artist through the use of Christian symbolism, or that associated with the Judeo-Christian tradition, as in the case of Cronaca del Luogo (1999). The sphere of sacrum in Berio’s last stage work is created through such means as intertextual references to the Holy Writ, rabbinic and apocryphal literature and, linked to the creation of specific locations of the action – the space of sacred place, the palace and a Jewish cemetery. Even the title of the work points to the link between the work and the sphere of sacrum, and between the sphere of sacrum and the symbolism of space. This article will present an interpretation of these „imagined worlds” linked to the sphere of sacrum, created by the relationship between words, sounds and images, on the boundary between the space of the „wall” of Salzburg’s Felsen-reitschule, where the work had its premiere, and the imagination of its creators and audiences.
人们可以在卢西亚诺·贝里奥的舞台作品中指出许多骶骨领域的表现。这是意大利艺术家通过使用基督教象征主义或与犹太教-基督教传统相关的作品，如Cronaca del Luogo(1999)。在贝里奥最后阶段的作品中，圣职的领域是通过对圣经、拉比和伪经文献的互文参考等手段创造出来的，并与具体地点的创造联系在一起-圣地的空间，宫殿和犹太墓地。甚至作品的标题都指向了作品与骶骨领域之间的联系，以及骶骨领域与空间象征之间的联系。本文将在萨尔茨堡Felsen-reitschule的“墙”空间与创作者和观众的想象力之间的边界上，对这些与骶骨领域相关的“想象世界”进行解释，这些世界是由文字、声音和图像之间的关系创造的。
{"title":"Sfera sacrum w Cronaca del Luogo Luciana Beria","authors":"W.S.W Nowak","doi":"10.14746/rfn.2019.20.4","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.4","url":null,"abstract":"One can point to numerous manifestations of the sphere of sacrum in Luciano Berio’s stage works. It is created in the works of the Italian artist through the use of Christian symbolism, or that associated with the Judeo-Christian tradition, as in the case of Cronaca del Luogo (1999). The sphere of sacrum in Berio’s last stage work is created through such means as intertextual references to the Holy Writ, rabbinic and apocryphal literature and, linked to the creation of specific locations of the action – the space of sacred place, the palace and a Jewish cemetery. Even the title of the work points to the link between the work and the sphere of sacrum, and between the sphere of sacrum and the symbolism of space. This article will present an interpretation of these „imagined worlds” linked to the sphere of sacrum, created by the relationship between words, sounds and images, on the boundary between the space of the „wall” of Salzburg’s Felsen-reitschule, where the work had its premiere, and the imagination of its creators and audiences.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114419686","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 analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi. At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is analysed in its musical aspect as well as in the context of the “video clip” advertising Anna Prohaska’s album Enchanted Forest. An example of a lament by Monteverdi using other musical techniques is the monologue from the opera Arianna by its heroine, which became the model for later laments. Symbolically it presents a woman’s unsuccessful struggle for her right to individuality and the cultural role of arranged marriage. Its shape is influenced by the commedia dell’arte tradition. The first opera directly concerned with the theme of madness is Monteverdi’s La finta pazza Licori. Also in this case inspiration came from commedia dell’arte. Even though this work was not completed, the available versions allow us to reconstruct the composer’s intentions and to show how the theme of madness came to make its appearance on operatic stages.
{"title":"Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego","authors":"M. Bogucki","doi":"10.14746/rfn.2019.20.6","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.6","url":null,"abstract":"This article analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi. \u0000At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is analysed in its musical aspect as well as in the context of the “video clip” advertising Anna Prohaska’s album Enchanted Forest. \u0000An example of a lament by Monteverdi using other musical techniques is the monologue from the opera Arianna by its heroine, which became the model for later laments. Symbolically it presents a woman’s unsuccessful struggle for her right to individuality and the cultural role of arranged marriage. Its shape is influenced by the commedia dell’arte tradition. \u0000The first opera directly concerned with the theme of madness is Monteverdi’s La finta pazza Licori. Also in this case inspiration came from commedia dell’arte. Even though this work was not completed, the available versions allow us to reconstruct the composer’s intentions and to show how the theme of madness came to make its appearance on operatic stages.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129494569","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}
Don Juan by Wolfgang Amadeus Mozart, directed by Lia Rotbaum (Opera Wrocławska, 1969), turned out to be an unorthodox staging supported by deep theoretical reflection. This article attempts to reconstruct this staging, on the basis of what is known as the work’s documentation (director’s copy, photographs, opera programme), reviews, accounts by the singers, as well as the director’s theoretical writings. Don Juan in the interpretation of Lia Rotbaum is an ambivalent figure, who combines contradictory attitudes. He is not a thoroughly negative protagonist; it is the other characters in the opera who, like mirrors, reflect other aspects of his activities. For this reason the director makes the question of responsibility of one person towards another the main theme of the work. Directorial techniques include the use of the revolving stage to give tempo and dynamics to individual scenes; removing and changing the sequence of some musical fragments; operating with studied, rich stage movement, and a highly ordered stage design.
{"title":"Don Juan Wolfganga Amadeusa Mozarta w reżyserskiej interpretacji Lii Rotbaumówny – próba rekonstrukcji","authors":"J. Rudnicka","doi":"10.14746/rfn.2019.20.5","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.5","url":null,"abstract":"Don Juan by Wolfgang Amadeus Mozart, directed by Lia Rotbaum (Opera Wrocławska, 1969), turned out to be an unorthodox staging supported by deep theoretical reflection. This article attempts to reconstruct this staging, on the basis of what is known as the work’s documentation (director’s copy, photographs, opera programme), reviews, accounts by the singers, as well as the director’s theoretical writings. Don Juan in the interpretation of Lia Rotbaum is an ambivalent figure, who combines contradictory attitudes. He is not a thoroughly negative protagonist; it is the other characters in the opera who, like mirrors, reflect other aspects of his activities. For this reason the director makes the question of responsibility of one person towards another the main theme of the work. Directorial techniques include the use of the revolving stage to give tempo and dynamics to individual scenes; removing and changing the sequence of some musical fragments; operating with studied, rich stage movement, and a highly ordered stage design.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131703524","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}
Time Regained (A Warburg Atlas for Early Music) by Björn Schmelzer and Margarida Garcia, published in 2018, is the first large-scale attempt to apply to musicology, or more precisely the Early Music movement with its beginnings in the nineteenth century, the thinking and action strategy of the German art historian Aby Warburg. The authors chose as a kind of model Warburg’s famous Mnemosyne Atlas. In a similar way, Time Regained was presented in the form of an exhibition, premiered during the residence of the Belgian vocal ensemble Graindelavoix at the Utrecht Early Music Festival in 2018. The book version, alongside 10 plates containing ca. 1500 pictures, provides an extensive commentary on the exhibition. In view of its close relationship to the performance practice of the Graindelavoix ensemble, led by Björn Schmelzer, the main subject of discussion is vocal polyphony in the 12th–16th centuries.The main aim of the article is to show how Aby Warburg’ s ide-as and work are used by Schmelzer and Garcia to create their own vision of Early Music, and thus to examine the possibilities opened up for musicology and historical performance by the authors of Time Regained. Most of the text is devoted to systematising the opinions scattered over the pages of this extensive publication. The point of departure is the Mnemosyne Atlas – its structure, the contexts relating to it, and its re-interpretation in relation to Early Music („Warburg’s montages, Schmelzer’s montages”). The second part („Warburg’s Dictionary for Early Music”) concerns the manner of applying Warburg’s concepts (Pathosformel, Nachleben, Zwischenraum, bewegtes Leben) in the area of musicology and historical performance. The last fragment of the article (“The potential of Time Regained”) discusses the practical realisations of the potential contained within Time Regained itself.
由Björn Schmelzer和Margarida Garcia撰写的《重新获得的时间》(A Warburg Atlas for Early Music)于2018年出版，是德国艺术史学家Aby Warburg的思考和行动策略首次大规模尝试应用于音乐学，或者更准确地说，是19世纪开始的早期音乐运动。作者选择了沃伯格著名的《记忆》阿特拉斯作为一种模式。同样，《Time reclaim》也以展览的形式呈现，并在2018年乌得勒支早期音乐节比利时合唱团Graindelavoix驻地期间首演。书的版本，以及10个包含大约1500张图片的盘子，提供了对展览的广泛评论。鉴于其与Björn Schmelzer领导的Graindelavoix合奏团的演奏实践的密切关系，讨论的主要主题是12 - 16世纪的声乐复调。本文的主要目的是展示施梅尔策和加西亚是如何利用艾比·沃伯格的想法和作品来创造他们自己的早期音乐视野的，从而研究《重新获得的时间》一书的作者为音乐学和历史表演开辟的可能性。文章的大部分内容都致力于将分散在这本广泛出版物页面上的观点系统化。本文的出发点是《蒙太奇》——它的结构、与之相关的背景，以及它与早期音乐(“沃伯格的蒙太奇，施梅尔策的蒙太奇”)的重新诠释。第二部分(“Warburg的早期音乐词典”)涉及在音乐学和历史表演领域应用Warburg的概念(pathosformmel, Nachleben, Zwischenraum, bewegtes Leben)的方式。文章的最后一部分(“重新获得的时间的潜力”)讨论了“重新获得的时间”本身所包含的潜力的实际实现。
{"title":"Atlasy pamięci. Warburg i Muzyka Dawna na podstawie Time Regained Björna Schmelzera i Margaridy Garcii","authors":"Ryszard Lubieniecki","doi":"10.14746/rfn.2019.20.8","DOIUrl":"https://doi.org/10.14746/rfn.2019.20.8","url":null,"abstract":"Time Regained (A Warburg Atlas for Early Music) by Björn Schmelzer and Margarida Garcia, published in 2018, is the first large-scale attempt to apply to musicology, or more precisely the Early Music movement with its beginnings in the nineteenth century, the thinking and action strategy of the German art historian Aby Warburg. The authors chose as a kind of model Warburg’s famous Mnemosyne Atlas. In a similar way, Time Regained was presented in the form of an exhibition, premiered during the residence of the Belgian vocal ensemble Graindelavoix at the Utrecht Early Music Festival in 2018. The book version, alongside 10 plates containing ca. 1500 pictures, provides an extensive commentary on the exhibition. In view of its close relationship to the performance practice of the Graindelavoix ensemble, led by Björn Schmelzer, the main subject of discussion is vocal polyphony in the 12th–16th centuries.The main aim of the article is to show how Aby Warburg’ s ide-as and work are used by Schmelzer and Garcia to create their own vision of Early Music, and thus to examine the possibilities opened up for musicology and historical performance by the authors of Time Regained. Most of the text is devoted to systematising the opinions scattered over the pages of this extensive publication. The point of departure is the Mnemosyne Atlas – its structure, the contexts relating to it, and its re-interpretation in relation to Early Music („Warburg’s montages, Schmelzer’s montages”). The second part („Warburg’s Dictionary for Early Music”) concerns the manner of applying Warburg’s concepts (Pathosformel, Nachleben, Zwischenraum, bewegtes Leben) in the area of musicology and historical performance. The last fragment of the article (“The potential of Time Regained”) discusses the practical realisations of the potential contained within Time Regained itself.","PeriodicalId":335976,"journal":{"name":"Res Facta Nova. Teksty o muzyce współczesnej","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116505387","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}
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