Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl
Visit https://bibliotekanauki.pl
Title variants
A patent for songs. Wincenty Pol's singing - not only from the grave
Patent na piosenki. Wincentego Pola śpiew nie tylko z mogiły
Patent na piosenki. Wincentego Pola śpiew nie tylko z mogiły
Languages of publication
Abstracts
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.
Keywords
Year
Volume
Pages
3-18
Physical description
Dates
published
2018-12-12
Contributors
References
- Adama Mickiewicza wspomnienia i myśli, z rozmów i przemówień zebr. i oprac. S. Pigoń, Warszawa 1958.
- Einstein E., Muzyka w epoce romantyzmu, Warszawa 1983.
- Estreicher K., Wincenty Pol, jego młodość i otoczenie, Lwów 1882.
- Fubini E., Historia estetyki muzycznej, przeł. Z. Skowron, Kraków 2002.
- Janion M., Wstęp do: W. Pol, Wybór poezji, wyboru dokonała i wstępem poprzedziła M. Janion, przypisy oprac. M. Grabowska, Wrocław 1963, BN I, nr 180.
- Kallenbach J., Wstęp do: W. Pol, Pieśni Janusza, Kraków 1921, BN I, nr 33.
- Kultura muzyczna Warszawy drugiej połowy XIX w., pod red. A. Spoza, Warszawa 1980.
- Łoboz M., „Lecz od nas kochać mocniej pewno Cię nie mogą”. Romantycy polscy Chopinowi, [w:] Romantyzm. Literatura – kultura – obyczaj, t. 3: Prace dedykowane Profesorowi Marianowi Urselowi w 65. rocznicę urodzin, pod red. M. Joncy i M. Łoboz, Wrocław 2015.
- Łoboz M., „Piękna nasza Polska cała”… Krajobrazy Wincentego Pola, Wrocław 2007.
- Łoboz M., Śpiewak pieśni niedogranych. W kręgu twórczości Wincentego Pola, Wrocław 2004.
- Obrazy natury i kultura. Studia o Wincentym Polu, pod red. M. Łoboz, Wrocław 2015.
- Pol W., Dzieła poetyckie, t. III, oprac. J. Sroczyński, M. Wiśniowiecki, Stanisławów 1904.
- Pol W., Dzieła prozą, pierwsze wyd. zupełne, t. IV, Lwów 1877.
- Pol W., Poezje, pierwsze wyd. zupełne, t. V, Lwów 1878.
- Pol W., Wybór poezji, wyboru dokonała i wstępem poprzedziła M. Janion, przypisy oprac.
- M. Grabowska, Wrocław 1963, BN I, nr 180.
- Pol W., Wybór poezji, Petersburg 1898.
- Rondomańska Z., Poezja Wincentego Pola w twórczości kompozytorów polskich i muzyków-amatorów, [w:] „Ponad hafem wicher wyje…” Studia o Wincentym Polu, red. N. Kasparek, A. Korytko, Olsztyn 2013.
- Tomaszewski M., Chopin. Człowiek, dzieło, rezonans, Poznań 1998.
- Tomaszewski M., Od wyznania do wołania. Studia nad pieśnią romantyczną, Kraków 1997.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.ojs-doi-10_24917_20811853_18_1
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.