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EARLY SONGS BY CONSTANTIN REGAMEY - BETWEEN ESOTERICS, EROTICS, SYMBOLISM AND CATASTROPHISM (Wczesna twórczosc piesniowa Konstantego Regameya - w kregu ezoteryki, erotyzmu, symbolizmu i katastrofizmu)

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Naliwajek-Mazurek K.

Przegląd Muzykologiczny

2005

issue 5

157-180

Six songs composed in 1920 by the thirteen year old Constantin Regamey (1907-1982) after his dramatic journey from Kiev to Warsaw astonish us by their variety and maturity. The manuscripts of these early works are at present preserved in the composer's archive (Fonds Constantin Regamey) in the Bibliotheque Cantonale et Universitaire de Lausanne. With one exception (a song set to an anonymous text in Polish), they are set to texts by Russian neo-symbolist poets, which were written and published around 1910. This paper discusses some characteristic features of Regamey's settings: different harmonic and ostinato devices in the piano part, a frequently employed declamatory style in the vocal line, and traces of impressionistic influences as well as the context of poems chosen by the young composer. Textual and musical analysis allows us to presume that the various narrators of these songs is the alter ego of the composer himself - a youth, whose internal universe embraces a slightly ironic vision of the transforming power of the poetic imagination (Nikolai Ghumilov's 'Mechti'), the decadent and naive eroticism (Igor Severyanin's 'Malenkaya eleghiya'), the sense of exile due to an historical catastrophe or the image of metaphysical pessimism (Marina Tsvetayeva's 'Ni zdes', ni tam'), and the secret Rosicrucian path towards enlightenment (Vyacheslav Ivanov's 'Molchanye', Taina pevtsa').

PAWEL SZYMANSKI'S PARTITA IV AND HIS 'UTOPIA OF THE DOUBLENESS OF MUSIC' (Partita IV Pawla Szymanskiego i jej 'utopia podwójnosci muzyki')

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Naliwajek-Mazurek K.

Przegląd Muzykologiczny

2004

issue 4

109-145

As in the case of Partita No. 3 of the same year, the architecture of Pawel Szymanski's Partita No. 4 (1986) may be seen as a dual form, in which two sharply contrasting yet dovetailing sections are dynamically interrelated, stemming as they do from the same musical material that is based on a pre-composed model. This model's contrapuntal structure (a three-part fugue in Partita No. 3 and a four-part circular canon in Partita No. 4) is a starting point for a heterophonically textured second section of the piece, whereas the first section extrapolates the model. The continuous presence of the model as the deep structure of the piece generates an elusive feeling of the musical narrative's two-layered character. This technique enables the composer to achieve his goal of 'double' music, rejecting the traditional notions of linearity and teleology. This aspect is further underlined by the piece's temporal structure, in which different types of time can be observed (e.g. spiral and ramified time). The authoress of the essay also discusses the Partita in light of the historical implications of the genre, drawing analogies with compositional concepts of Witold Lutoslawski, György Ligeti (in his Lontano), and Krzysztof Penderecki (in the Partita).

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2 Przegląd Muzykologiczny

2 Naliwajek-Mazurek K.

1 2005

1 2004

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EARLY SONGS BY CONSTANTIN REGAMEY - BETWEEN ESOTERICS, EROTICS, SYMBOLISM AND CATASTROPHISM (Wczesna twórczosc piesniowa Konstantego Regameya - w kregu ezoteryki, erotyzmu, symbolizmu i katastrofizmu)

PAWEL SZYMANSKI'S PARTITA IV AND HIS 'UTOPIA OF THE DOUBLENESS OF MUSIC' (Partita IV Pawla Szymanskiego i jej 'utopia podwójnosci muzyki')