Józef Wieniawski - Ferenc Liszt. Concert etude examined from the perspective of the genre

• Authors: Janina Tatarska
• Languages of publication: PL

Abstracts

PL

The cycle 24 Etudes in All Major and Minor Keys op. 44 by Józef Wieniawski (1837-1912) demonstrates the essential unity of the virtuoso and the composer in a dynamic process of transforming the genre. This played an important part in providing innovative solutions not only in relation to piano-playing, but also in its significant influence on the development of texture, diversification of the instrumental sound and the expansion of means of musical expression in nineteenth-century piano music. Wieniawski, following Transcendental etudes or Concert etudes by Liszt, whose pupil he was in Weimar, blurs the boundaries between improvisation and composition; he draws attention to the unique nature of interpretation, its singularity and the specificity of the moment in time when the work is performed. Continuing the tradition of the grand cyclic form as a special kind of universum, he implements the concept of diversity in unity. The 24 characteristic miniatures reveal contextual links, intra-musical relationships, and the quest for individual solutions. This problematic concerns issues such as symbolic references, which lead one to an extensive catalogue of expressive qualities.

Keywords

PL

Józef Wieniawski; archetypes; genre; concert etude; pianism; virtuosity; cyclic form; expression; topoi

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Interdisciplinary Studies in Musicology
• Year: 2014
• Issue: 13
• Pages: 155-168

Dates

published

2018-10-17

Contributors

author

Janina Tatarska

• Music theorist, doctor of humanities, Head of the Department of Music Theory at the Ignacy Jan Paderewski Music Academy in Poznań, where she holds the post of professor. She organises the ‘Musica practica, musica theoretica’ cycle of international scientific conferences. For many years she has been science editor of the Music Academy Publishers in Poznań; she has participated in the work of the Council for Higher Artistic Education at the Ministry of Culture, and has been a jury member of the National Competition of MA Theses by Graduates of Music Academies. She works with many cultural organisations; her interests include research into Polish musical culture in 19th- and 20th-centuries, the twentieth-century composers’ community in Poznań, and piano music. A large number of her articles has appeared both in national and international publications. She has lectured in the USA, Romania and Italy; she also takes part in national and international scientific conferences.