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KOMPOZYTORZY GDAŃSCY? U ŹRÓDEŁ ARTYSTYCZNEJ TOŻSAMOŚCI TWÓRCÓW POWOJENNEGO WYBRZEŻA

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Schiller-Rydzewska J.

Ars inter Culturas

2017

issue 6

185-196

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.

Fazy twórczości Henryka Hubertusa Jabłońskiego — propozycja klasyfikacji

99%

Szemiel M.

Aspekty Muzyki

2012

vol. 2

173-183

The article is an attempt to divide Jabłoński’s output into phases according to Mieczysław Tomaszewski’s concept. In line with the assumptions of this concept, in the composer’s biography there are turning points and a return that defi ne his creative path. General characteristics of Jabłoński’s creative path can be divided into three phases. Stylistic caesurae of the phases become essential in pointing out the pivotal moments that defi ne the course of evolution of Jabłoński’s oeuvre. The path leads from the infl uence of neoclassical aesthetics in his early works, through the experience of aleatoric and sonoristic techniques of controlling the musical material, up to simplifi ed textures and stylistic features revolving around the sérénité climate. In the phases of the evolution of Jabłoński’s output presented here, specifi c features of his musical language are pointed out. These are connected with his individualistic approach to the issue of tonality. The composer developed and enriched his musical language, but only with such elements of new techniques that did not disturb the creative path he had taken earlier. His attempts to merge traditional forms with 20th-century compositional techniques only served the purpose of fi nding new timbres and sound qualities. The author of the article emphasises the importance of the melodic element in Jabłoński’s works, where expressivity and emotion are anchored in the expression of the romantic spirit of beauty.

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KOMPOZYTORZY GDAŃSCY? U ŹRÓDEŁ ARTYSTYCZNEJ TOŻSAMOŚCI TWÓRCÓW POWOJENNEGO WYBRZEŻA

Fazy twórczości Henryka Hubertusa Jabłońskiego — propozycja klasyfikacji