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Działalność artystyczna Eduarda Steuermanna do 1936 roku

100%
Dziadek M.
Aspekty Muzyki
|
2018
|
vol. 8
s. 309-333
PL
Artykuł jest poświęcony działalności Edwarda Steuermanna — pianisty, publicysty i kompozytora rodem z Sambora w Galicji, który jest dziś głównie znany jako współtwórca i promotor II Szkoły Wiedeńskiej, uczeń Arnolda Schönberga, autor prawykonań i opracowań szeregu jego dzieł. Odtworzone zostaną dzieje kariery pianistycznej Steuermanna począwszy od debiutu we Lwowie w 1903 roku do momentu opuszczenia Wiednia w 1936 roku. Zrekonstruowane zostaną trasy koncertowe artysty, jak również wykonywany przez niego repertuar, obejmujący nie tylko muzykę modernistyczną, ale i szereg sztandarowych dzieł klasyczno-romantycznej literatury fortepianowej. Kwerenda polskich, austriackich, czechosłowackich i niemieckich źródeł prasowych na temat koncertów Steuermanna pozwoliła na rozpoznanie roli, jaką odegrał artysta w życiu muzycznym pierwszych dekad XX wieku jako jeden ze znaczących wirtuozów działających w kręgu środkowoeuropejskim.
EN
The paper is devoted to the activity of Eduard Steuermann — the pianist, music critic and composer born in Sambor in former Galicia (now Ukraine) who is nowadays known as the co-creator and promoter of the Second Viennese School, the student of Arnold Schönberg, as well as the author of the world premieres nad transcriptions of many Schönberg’s works. The paper describes the history of Steuermann’s pianistic career from the beginning — when he made his debut in Lwów (now Lviv, Ukraine) in 1903, until the year 1936 when he emigrated from Austria. The aim of the paper is to reconstruct Steuermann’s concert tours as well as his repertoire, including not only modern music but also works from the classical piano repertoire. The search query of Polish, Austrian, Czechoslovakian and German press allowed to recognize Steuermann’s role in the first decades of the 20. century as one of the leading pianists active in the Central European circle.
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THE EVOLUTION OF COSMOPOLITAN ATTITUDES IN POLISH MUSICAL CULTURE OF THE TWENTIETH CENTURY

100%
Dziadek M.
Musicology Today
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2005
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vol. 2
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issue 2
25-36
EN
Changing meanings and evaluation of such concepts as cosmopolitanism and universalism, important for Polish musical culture, are the main subjects of the article. Cosmopolitanism evolved in eminent Positivist writers' thought of last decades of the19th century from a pejoratively defined notion to the expression of equality of all nations, universalism became a counterweight of nationalistic complexes and particularisms. Development of a culture could be interpreted as a complementary chain of domination of one of the two key tendencies: nationalism and 'supranationalism'. Polish authors from the beginning of the 20th century contributed to this issue in a significant way. The place of these notions is also discussed in the context of Poland's peculiar geopolitical situation of the time and its result for the investigated concepts; in the 19th century the idea of 'real' West, which made the creators and observers of the development of Polish culture favor 'limited universalism', did not include the states participating in the partitions of Poland: Russia and Prussia. The authoress analyzes the changes in this approach after 1900.
3
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Działalność Raula Koczalskiego w Niemczech w latach 30. XX wieku

100%
Dziadek M.
Aspekty Muzyki
|
2015
|
vol. 5
11-25
EN
The article describes a quite obscure period of the activity of Raul Koczalski, the outstanding Polish performer of Chopin’s works, which took place in the 1930s. At the time, the artist, living in Berlin, was pursuing his mission of propagating Chopin’s music by giving concerts, lectures and master classes, as well as publishing his own book devoted to Chopin’s music and its rendition. The aim of the article is to compare this activity with Koczalski’s other undertakings – those resulting from the political conditions of those days. As a result, we get to know the artist who must have combined his Polish patriotism with the gestures of admiration towards German cultural heritage, which was possible thanks to the support of both Polish and German authorities. The pursuing of the “mission of conciliation” in the way that included the current interests of the Third Reich was paradoxically enabled by Chopin’s music itself, considered by the authorities in Berlin as a pan- European value.
4

KAROL SZYMANOWSKI AS THE CHANCELLOR OF THE HIGHER SCHOOL OF MUSIC IN WARSAW. NEW FACTS, NEW LIGHT

100%
Dziadek M.
Musicology Today
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2008
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vol. 5
94-117
EN
The authoress discusses the question of historical evaluation of Szymanowski's stand and his role as the Chancellor of the Higher School of Music in Warsaw. Taking into account different narratives she argues that too often those judgments are based on statements made by Szymanowski himself, who tended to reduce the controversy over the Higher School to the struggle between progressivism and conservatism. The article re-examines these views to prepare ground for a more objective discussion, by providing a detailed reconstruction of the story of the controversies linked to the future of the School. This brings the authoress to the conclusion that they resulted from two different tendencies. The first was represented by Szymanowski, who saw the need to expand the existing narrow system of vocational teaching and to create an 'oasis of wisdom' in Warsaw with an elite of virtuosos. The second was egalitarian and utilitarian. According to the authoress, Szymanowski's vision in the time of the economic depression was utopian. That is why, she argues, it is the latter tendency, convergent with the policies of the Polish educational authorities, which prevailed in the conflict over the shape of the Conservatory.
5
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Uwagi o przydatności typologii strategii intertekstualnych Stanisława Balbusa do badań nad muzyką

100%
Dziadek M.
Aspekty Muzyki
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2017
|
vol. 7
53-69
EN
The paper is an attempt to investigate the possibilities and limitations connected with the unreflective adaptation of the concept of intertexuality, worked out by theoreticians of literature, to musicological research. The author is especially interested in assessing in that sense the concept of the relationships between literary styles proposed by Stanisław Balbus in the book Between Styles, which is currently the source of inspiration for many Polish musicologists. The starting point of the reflection is recalling the doubts addressed by Tibor Kneif already in the 1970s, as far as the reasonableness of using the achievements of semiotics by musicologists is concerned. Going further, the author enters into discussion with some Polish musicologists who use the proposals of intertextuality researchers, e.g. Balbus’, quite too hastily, and examines the examples of sub-mitting by them as intertextual musical works in which one can not find in fact any intertextual relations. The author describes as unreasonable the procedure of presenting the musical works based on borrowings as especially worthy in the sense of their connection with the tradition. The danger lies here in the fact of how easily objective analysis can be replaced with ideology. The author also reminds that most of extra-textual relationships in musical works can be describedusing the traditional tools of musicological analysis — aimed at searching the autonomous sense of music.
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