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1
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Tożsamość kompozytorska Krzysztofa Olczaka wobec kategorii elementarnych i dystynktywnych

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Schiller-Rydzewska J.
Aspekty Muzyki
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2016
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vol. 6
43-68
EN
Krzysztof Olczak is currently one of the pillars of Gdańsk musical life. His numerous achievements oblige us to widen our reflection about his music. In this case the key idea is his composer’s identity, which is growing out of three premises: socio-historical, philosophical and musicological. These points of view, ordered systematically, allowed for the clarification of the notion of com-poser’s identity and positioning it in relation to the creative achievements of the composer viewed in a comprehensive biographical, historical and personality-related perspective. It turned out that an adequate tool for a thorough study of Krzysztof Olczak’s works is the concept by Mieczysław Tomaszewski, which says that the reading of the elementary and distinctive categories is an important platform for understanding musical work. From thus specified fields of observation there emerged Olczak’s composer’s profile in the context of its most crucial, identity-defining properties.
2
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Konwersja narodowa Henryka Hubertusa Jab􏰄o􏰅skiego – wybór, czy 􏰔życiowa konieczno􏰀􏰁ść?

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Schiller-Rydzewska J.
Edukacja Muzyczna
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2017
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issue 12
147–167
PL
Henryk Hubertus Jabłoński (1915–1989) to jedna z najważniejszych postaci gdańskiego życia muzycznego powojennej doby. Kompozytor, który działał na rzecz środowiska twórców zarówno w wymiarze artystycznym, edukacyjnym, jak i organizacyjnym. Twórczość Jabłońskiego jest polem szeroko rozpoznanym w badaniach teoretycznych i muzykologicznych. Wiele pytań natomiast nasuwa biografia kompozytora, szczególnie w okresie przedwojennym i tuż po zakończeniu działań wojennych. Podstawowym problemem badawczym niniejszego tekstu było więc rozstrzygnięcie, w jakich okolicznościach i na podstawie jakich przesłanek kompozytor podjął decyzję o narodowej konwersji i zmianie personaliów z Helmut Degler na Henryk Jabłoński. W tym celu prześledzono materiały źródłowe o charakterze biograficznym, wpisując je w szeroki kontekst życia społeczno-politycznego Gdańska pomiędzy rokiem 1939 a 1948. W wyniku przeprowadzonych analiz decyzja kompozytora nabiera głębokiego, wielowymiarowego sensu i wpisuje się w losy gdańszczan w okresie powojennym.
EN
Henryk Hubertus Jablonski (1915–1989) is one of the most important figures of Gdansk’s post- war musical life. The composer worked for the artists’ community in artistic and educational as well as organizational terms. Jablonski’s music is extensively examined by the theoretical and musicological research. But many questions are raised by the composer’s biography, especially during the pre-war period and immediately after the war. The basic research problem on which this text focuses is to determine under what circumstances and on what grounds the composer decided to undergo a national conversion and to change his name from Helmut Degler to Henryk Jablonski. For this purpose, the source materials of biographical character were analysed within a broader context of socio-political life of Gdansk between 1939 and 1948. As a result of the analysis, the composer’s decision is gaining a deep multidimensional meaning and is becoming a part of Gdansk citizens’ fate in the post-war period.
3
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Refleksja egzystencjalna i patriotyczna w twórczości Augustyna Blocha

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Schiller-Rydzewska J.
Edukacja Muzyczna
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2018
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issue 13
37–52
XX
Twórczość Augustyna Blocha nosi piętno swoistej dychotomii. Z jednej strony pojawiają się w niej wątki żartobliwe, podszyte autoironią i humorem, z drugiej zaś głęboko refleksyjne, naznaczone piętnem lęku przed śmiercią, poruszające problematykę sensu ludzkiej egzystencji. W tym nurcie muzyki na wskroś poważnej kompozytor podejmuje także próbę rozliczenia się z traumatycznymi przeżyciami czasu wojny, zaznacza swój sprzeciw wobec zakłamania komunistycznego reżimu. Dotyka tak istotnych wątków, jak nienaruszalność godności jednostki ludzkiej oraz prawa narodu do samostanowienia. Tematyka utworów Blocha sytuujących się w tym nurcie ma dwojakie źródło. Z jednej strony są to przemyślenia wyrastające z tradycji religijnej, tu kompozytor wprost odwołuje się do istoty Boga, wykorzystując teksty modlitewne i biblijne – np. Ajelet córka Jeftego, Albowiem nadejdzie światłość Twoja, Nie zabijaj! Z drugiej zaś refleksje twórcy podążają ścieżką na wskroś świecką, bazującą na poezji i filozofii egzystencjalnej – np. Espressioni, Wordsworth Songs. Oba zakresy tematyczne przemyśleń kompozytora, które odwołują się do sensu istnienia jednostki uwikłanej w sytuację graniczną, uzupełnia tematyka patriotyczna w takich utworach, jak: Poemat o Warszawie, Oratorium, czy wspomniane już wcześniej Nie zabijaj! Te trzy dzieła dobitnie komentują dramatyczne wydarzenia historyczne: tragedię osamotnionych w walce powstańców warszawskich, wprowadzenie stanu wojennego oraz zabójstwo księdza Jerzego Popiełuszki. Te osobiste doświadczenia mają swój szerszy wymiar w kontekście pokoleniowym. Niszczące działanie wojennej traumy, kolejne lata spędzone w zawłaszczającym wszelką indywidualność reżimie, stały się udziałem całej generacji.
EN
The works of Augustyn Bloch bear the mark of a specific dichotomy. On the one hand, there appear humorous themes, lined with self-irony and humour, and on the other hand deeply reflective, marked by the stigma of fear of death, touching the issue of the sense of human existence. In this trend of thoroughly composing music, the composer also attempts to account for the traumatic experiences of wartime, he points out his opposition to the deception of the communist regime. The themes of Bloch’s works in this trend have a double source. On the one hand, these are thoughts arising from the religious tradition. Here the composer simply refers to the essence of God by using prayer and biblical texts – e.g. Ajelet, daughter of Jephthah, For Your light will come, Do not kill! On the other hand, the creator’s reflections follow a completely secular path, based on existential poetry and philosophy – for example, Espressioni, Wordsworth Songs. Both thematic areas of the composer’s reflections that refer to the meaning of an individual entangled in the border situation are complemented by the patriotic theme in such works as: Poem about Warsaw, Oratory, or the already mentioned Do not kill! These three works emphatically comment on dramatic historical events: the tragedy of the Warsaw Insurgents who were alone in the fight, the introduction of martial law and the murder of Father Jerzy Popiełuszko.
4
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Semantyka tytułu jako klucz interpretacyjny w religijnej twórczości Marka Czerniewicza

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Schiller-Rydzewska J.
Liturgia Sacra. Liturgia - Musica - Ars
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2016
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vol. 22
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issue 47
205-217
PL
Marek Czerniewicz to młody gdański kompozytor, w którego bogatej twórczości istotne miejsce zajmują dzieła o charakterze religijnym. Ważną cechą dokonań kompozytora jest stosowanie tytułów o pozamuzycznym znaczeniu. I właśnie ten związek pomiędzy tytułem dzieła a jego muzyczną konkretyzacją znalazł się w interesującym nas polu badawczym. Dla tak zarysowanej problematyki pomocne okazały się koncepcje analityczne Charlesa Seegera, Eero Tarastiego i Macieja Jabłońskiego, dzięki którym możliwe stało się śledzenie związku zachodzącego pomiędzy ideą dzieła zawartą w jego tytule a obrazem brzmieniowym per se.
EN
Marek Czerniewicz is a young composer from Gdańsk. Works of religious nature play an important part in his achievements. A significant feature of his works is using titles with extra-musical meaning. And this connection between the title of the piece and its musical realization is the most interesting for us in the research field. For such outlined problems analytical concepts of Charles Seeger, Eero Tarasti and Maciej Jabłoński have proven to be helpful. Thanks to them it was possible to track the connection between idea of the piece contained in the title and its sound picture per se.
5
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POLSKI RUCH ŚPIEWACZY W PRZEDWOJENNYM GDAŃSKU – ORGANIZACJA, ROLA SPOŁECZNA I REPERTUAR

100%
Schiller-Rydzewska J.
Ars inter Culturas
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2018
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vol. 7
191-208
EN
The activity of Polish pre-war singing societies in the area of the Second Free City of Gdańsk was originally growing out of patriotic motives. Emphasizing Polish roots and cultivating national traditions was the most important premise for joint amateur singing. Gradually, however, the musical awareness of singers and their artistic ambitions also increased. The Polish community organized conducting courses were and educated youth at the Polish Conservatory of Music. In addition to eminent representatives of the native population, such as Tadeusz Tylewski, the group of those involved in the construction of the choral movement in pre-war Gdańsk was expanded by Kazimierz Wiłkomirski, whose arrival to the city was of enormous importance for the development of the Polish musical potential. At first, Gdańsk choirs performed popular repertoire – stylized folk songs, religious and occasional songs. In the 1930s, however, the works of the old masters and modern Polish choral music – the works of Żeleński, Maklakiewicz, Szymanowski, Szeligowski, and Wiechowicz – were reached. These repertoire items testify to the significant expansion of the executive potential of Gdańsk teams. Wiłkomirski and Tylewski also wrote to their needs, adapting their work to the specificity of the Polish musical life in prewar Gdańsk.
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MIĘDZYKULTUROWE INSPIRACJE W TWÓRCZOŚCI AUGUSTYNA BLOCHA

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Schiller-Rydzewska J.
Ars inter Culturas
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2014
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issue 3
29-41
EN
In Bloch’s works, the world of different meanings, ideas, and nonmusical contexts is of paramount importance. The composer often uses words as a medium intimately entwined with music. The reason for such an artistic declaration is the array of different events in Bloch’s life: his interest in the organ influenced by his father, his adventures with illustrative music, and the relationship with his wife – the excellent Polish singer – Halina Łukołomska. All these elements are the reason why Bloch’s works are inspired by poetical text, images, associations, and aesthetic sensations. Multicultural aspects in Bloch’s works stem from his contacts with German artists and patrons. These collaborations resulted in many outstanding works written for German artists. Some of his works were inspired by Bloch’s friendship with German painter Ingeborg zu Schleswig-Holstein (Denn Dein Licht Kommt/ Albowiem nadejdzie światłość Twoja; Du sollst nicht töten/ Nie zabijaj!; Empor/ Wzwyż). Three of Bloch’s works: Wordsworth Songs, Die Verscheuchte, Anenaiki were primarily inspired by formal and verbal construction and not as much by foreign cultures.
7
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ZJAWISKO MIĘDZYKULTUROWYCH INSPIRACJI W TWÓRCZOŚCI WSPÓŁCZESNYCH KOMPOZYTORÓW ŚRODOWISKA GDAŃSKIEGO

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Schiller-Rydzewska J.
Ars inter Culturas
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2015
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issue 4
121-140
EN
Multicultural inspirations in the works of modern composers from Gdańsk are phenomena that became a part of tradition, social structure, geographical situation, and the history of Gdańsk. In the diversified musical environment of the post-war Gdańsk, the three groups of composers active in the city are recognized. The first group includes the native- born composers; the second group consists of composers who came from different parts of Poland and settled in Gdańsk; the third group (the most difficult to compartmen talize) includes composers temporarily living in the city. The examination of artistic achievements of Gdańsk composers after the Second War World reveals three distinct domains of multicultural inspirations. The first involves cultural fascination with remote places of Europe and the world. The second draws on inspiration from the native folk culture, including the Kashubian folklore. The third domain borrows from the mass culture that aspires to the rank of sophisticated art.
8
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Znaki i powtórzenia w muzyce Augustyna Blocha – próba reinterpretacji

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Schiller-Rydzewska J.
Ars inter Culturas
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2020
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issue 9
95-110
EN
This attempt to reinterpret the works of Augustyn Bloch is based on the philosophical thou-ght of Gilles Deleuze. The transfer of the philosopher’s thought, focused mainly on the analy-sis of literary works, into the scope of questions of music takes into account the peculiarity of a musical work – its ontological essence. Following the signs and repetitions in the music of Au-gustyn Bloch, I therefore distinguish two categories of phenomena. The first are borrowed signs. These are in fact quotations of the creative work of another. They bring the essence that grows from an outside source, and refer to group memory. The second are quotations of one’s own cre-ative work, original reminiscences, which most often symbolize earlier works; they also become a personal code of the artist’s compositional strategy. The nature of these is twofold – externally emotive, when the message of meaning is recognized by a wide group of recipients, and internal-ly emotive, recognizable only by a narrow circle of experts.Repetitions of characters in each of these categories are present both in the surface layer (stru-ctural) and deep (expression) differences. Their catalog is most often dependent on the message of the work. The essence of repetition is therefore the internal tension depending on the difference.
9
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KOMPOZYTORZY GDAŃSCY? U ŹRÓDEŁ ARTYSTYCZNEJ TOŻSAMOŚCI TWÓRCÓW POWOJENNEGO WYBRZEŻA

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Schiller-Rydzewska J.
Ars inter Culturas
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2017
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issue 6
185-196
EN
Composers who worked in postwar Gdańsk came to the city from different part of the prewar Poland. Their cultural and educational background was related to their own local tradition, rather different than Gdańsk’s. Those personal experience made their music strongly bonded with their rooted tradition than with the region of Pomerania. To this group of composers belong Władysław Walentynowicz and Konrad Pałubicki. In fact in achievement of Henryk Hubertus Jabłoński we can observe much more references to the city of Gdańsk and Pomerania region because of his prewar Gdańsk’s roots. From this perspective we can noticed that diversity of artistic paths have its deep source in musical experience of personal musical origin and tradition.
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