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Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

100%

Skupin R.

Aspekty Muzyki

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2014

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vol. 4

53-65

EN

Giacinto Scelsi — actually Count Giacinto Scelsi Francesco Maria d’Ayala Valva — be-longed to this type of artists whose life is inextricably associated with his work. Despite the fact that his countrymen were definitely “alien” to him, he lived and worked the last thirty years of his life in Rome, via di San Teo-doro No. 8, alienated from the Italian musical environment and underestimat-ed as a composer in his homeland. Extremely strict fusion of the life and work of Scelsi allows one to read his artistic decisions materialized in his work and his life choices as a uniform quasi-text. The evolution of his musical language (from the influence of Debussy, the neo-classicism, dode-caphony, machinisme to the highly individual musical poetics inspired by the spiritual and musical cultures of the Orient) closely merged with biographical threads (travels around Europe, real and imaginary internal journeys to the East). Aristocratic origins and privileged social position biased the reception of his work in changing Italian reality (i. a. fascism and communism). The fascination of the Indo-Tibetan tradition of understanding the essence and function of sound led Scelsi to the crystallization of individual musical poetics of Scelsi the composer and at the same time — to the conversion of Scelsi the man to Buddhism, individually conceived and “professed”. The Yoga of Sound practice was treated by composer as a self-therapy and at the same time as his compositional modus operandi, which aimed to explore the third dimension of the sound — its depth in a musi-cal and spiritual sense. Scelsi devoted his personal life to his creativity and “composing” — to the specifically understood transcendence. The role of “the proteus” has initially not been the choice of Scelsi, however, with time and after his life experiences it was deliberately incorporated into his life and creative plan. It can be interpreted as the Scelsian strategy of internal emigration in his own country.

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Partimento – praktyka czy sztuka?1

100%

Solecka J.

Kwartalnik Młodych Muzykologów UJ

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2019

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issue 2(41)

23-42

EN

Partimento practice originated in Italy and the most important centre of this art was Naples. In general, partimento is a kind of an abbreviated form of musical notation. It uses the notation of basso continuo: it provides one voice, which in most cases is the bass part supported with figures of b.c. notation. The figures may be neglected if the performer is supposed to follow the so-called rule of the octave. Practicing partimento was a way to master compositional skills: thorough bass, harmony, counterpoint, form, texture, motivic coherence. Practicing this art was rewarded with an unparalleled fluency in improvisation on keyboard instruments. It was the basic method of composition teaching at the famous conservatories in Naples. The conservatories were founded in the 16th century as orphanages but from the 17th century onward they turned into important professional schools of music. The students of the conservatories attained the highest degree of musical knowledge enabling them to pursue great careers as composers and performers (both in the vocal and instrumental realm) in Italy and abroad. Besides Naples the art of partimento was taught in other Italian cities, e.g. Rome and Bologna. Its influence was also seen in other countries, mostly in Germany. Besides being exercises, the partimento notation was also included in pieces of music not necessarily intended for teaching purposes. Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti; however, he did not use the word “partimento”. His works for one or two keyboards, written as b.c., were called by him for example “basso”, “basso continuo”, “sonata”, “versetto”. An interesting question nowadays is if partimento is an old-fashion method of teaching or an inspiration for artists seeking for individual ways of own expression.

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The End of the Ars Nova in Italy. The San Lorenzo Palimpsest and Related Repertories, eds. Antonio Calvia, Stefano Campagnolo, Andreas Janke, Maria Sofia Lannutti, John Nádas, Firenze 2020 SISMEL Edizioni del Galluzzo, pp. XVI+314. ISBN 978-88-9290-046-2, online at http://www.sismel.info/books/TM21_The_End.pdf

100%

Louviot M.

Muzyka

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2021

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vol. 66

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issue 3

197-201

4

Giacinto Scelsi - homo viator and his musical itinerary

75%

Skupin R.

Interdisciplinary Studies in Musicology

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2013

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issue 12

127-148

PL

Giacinto Scelsi was a “traveller to the East”, who tied his life inextricably to creative work. As a composer, he sought a path for the renewal of his own musical language, shaped during his youth under the powerful influence of other composers’ styles. On becoming a homo religiosus, in the Eliadean sense, he found his own path to transcendence through art (creation), deeply inspired by those great traditions of the Orient in which art was a reflection of the artist’s spirituality. The topos of the path is one of the main keys to interpreting Scelsi’s work. His works for large orchestra and choir contain distinct traces of a Scelsian “voyage to the East”. They form one great cycle, integrated by the motif of the path, expressed through meanings added in the content of the individual programme-titles. The cycle’s finale, the eschatological Pfhat (1974), is the musical depiction of a journey that ends with “a clear, primordial light,” symbolising man’s encounter with a higher reality and “great liberation” as the goal of his spiritual path. The chronotope of the path is revealed in the very musical material of his orchestral works: in their quasi-visual soundspace. It is manifest, among other things, in the processual form - one might even say the storyline - and the consistently applied procedure of transforming sonorities, texture and rhythmic structures. A fundamental symbolic function is discharged by various forms of “upwards path”, linked to the dramaturgical role of an upwards motion pattern in the melody and an upwards movement in the tonal-harmonic plan of the orchestral works. The most crucial of all the variants of the motif of the path is the direction “into the core”, that is, towards the “inner space” of the sound. This carries significance both in the dimension of the harmonic spectrum of a sound and also its spiritual depth - the mystical dimension. The journey to the centre acquires the status of an emblematic topos of the Scelsian poetic of the viaggio al centro del suono [journey to the centre of the sound].

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Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, red. Marina Toffetti, Kraków 2018 Musica Iagellonica, ss. 203. ISBN 978-83-7099-221-7

75%

Jeż T.

Muzyka

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2019

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vol. 64

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issue 1

155-158

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Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku

63%

Borowiecka R.

Sympozjum

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2021

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vol. 1(40)

83-102

PL

Treść poematu Stabat Mater, opisującego postać Matki Bożej cierpiącej pod krzyżem, na którym umiera Jezus – Jej Syn, stała się jednym z uniwersalnych tematów sztuki, zainspirowała kompozytorów różnych wieków i ośrodków, co znalazło swój wyraz w bardzo licznych interpretacjach muzycznych. Spośród ponad 4000 kompozycji do tekstu sekwencji znaczna część to dzieła XVIII-wieczne (najczęściej późnobarokowe), pochodzące z kręgu włoskiego. Chcąc zinterpretować utwór słowno-muzyczny XVIII wieku, nie sposób czynić tego w oderwaniu od teorii afektów i retoryki muzycznej, które uzależniają tekst od muzyki zarówno na poziomie emotywnym, jak i symbolicznym. Referat stanowi próbę oglądu kompozycji Stabat Mater w kontekście retoryki na trzech odpowiadających jej poziomach: inventio, dispositio i decoratio. Wyartykułowane są tendencje wspólne oraz indywidualne, przejawiające się w odpowiednim doborze tonacji, tempa i figur retorycznych, a także pewnych motywów melodycznych, rytmicznych lub struktur harmonicznych funkcjonujących w roli znaku ilustracyjno-symbolicznego. Zaprezentowane zostają punkty węzłowe dzieł oraz prośby człowieka skierowane do Matki (druga część sekwencji) o różnorakiej intonacji błagalnej. Wskazana jest funkcja i przesłanie kompozycji. W czasach współczesnych Stabat Mater wielkich twórców rozbrzmiewają głównie jako dzieła koncertowe we wnętrzach kościelnych lub świeckich. Żywotność tych interpretacji 300 lat od ich powstania świadczy niewątpliwie o kompozytorskim kunszcie utworów oraz o ich znaczeniu nie tylko dla muzyki XVIII wieku, ale i dla dzisiejszej kultury i wiary.

EN

The Stabat Mater poem, which describes the suffering of Blessed Virgin Mary under the cross on which Jesus – her Son – is dying, has become a universal theme which inspired composers of various ages and origins and found its expression in numerous musical interpretations. From among over 400 compositions which set the text of the sequence to music, a large proportion are 18th-century works (mostly – late baroque) of Italian provenience. Attempting to interpret a musical composition with text of the 18th century, one has to take into account the theory of affects and musical rhetoric, which make the text dependent on music both on the emotive and symbolic level. The paper will examine the Stabat Mater compositions in the rhetoric context, referring to three main levels: inventio, dispositio and decoratio. The common and individual tendencies will be articulated, evident by the appropriate choice of the key, tempo and rhetorical figures, as well as by some melodic and rhythmic motives or harmonic structure having function of the special illustrative-symbolic signs. The nodal points of the work will be presented as well as the requests of man directed at the Mother (the second part of the sequence) assuming varying intonations of supplication. The function and the message of the compositions are advisable. In contemporary times Stabat Mater of the great composers resound mainly as concert masterpieces in church and secular interiors. The vitality of these interpretations after three hundred years from their creation most certainly bears witness to the composers’ artistry in their works and proves their significance not only for the music of the 18th century but also for the culture and faith of today.

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Early Music Recordings as Mythography: Monteverdi and the ‘Other’ Vespers

45%

Gembicki B.

Muzyka

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2020

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vol. 65

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issue 4

84-104

PL

W 1989 roku John Eliot Gardiner wykonał i zarejestrował w kościele św. Marka w Wenecji nieszpory maryjne Claudia Monteverdiego wydane w 1610 roku. Mimo dedykacji druku dla papieża Pawła V, trzech lat różnicy między ukazaniem się zbioru a podjęciem pracy przez Monteverdiego na stanowisku maestro di capella w kościele św. Marka oraz znacznej różnorodności stylistycznej zawartych w druku kompozycji, Gardiner, traktując dzieło Monteverdiego jako spójną całość, utrzymuje, że kościół św. Marka jest niejako docelowym miejscem jego powstania. Projekt Gardinera odegrał bez wątpienia istotną rolę w kształtowaniu wyobrażenia dzisiejszych odbiorców o Nieszporach z 1610 roku, trwale zapisując się we współczesnej kulturze muzycznej. Świadczyć mogą o tym liczne wznowienia wspomnianego wyżej albumu, a zwłaszcza produkcje innych muzyków, które łączą Nieszpory 1610 z kościołem św. Marka. Niniejszy artykuł dotyczy pojęcia „nieszpory Monteverdiego” we współczesnej fonograficznej recepcji twórczości kompozytora. Pojęcie to oznacza zarówno utwory składające się na wydane w 1610 roku Vespro della Beata Vergine Claudia Monteverdiego, jak i współczesne kompilacje utworów kompozytora opatrywanych przez muzyków, muzykologów i producentów określeniem „nieszpory”. Bogaty zasób zachowanych w bibliotekach i archiwach kompozycji nieszpornych wciąż znacznie przewyższa liczbę ich nagrań czy wykonań. Same zaś nieszpory Monteverdiego, stanowią większość wyprodukowanych dotąd dźwiękowych zapisów polifonicznego repertuaru nieszpornego z całego XVII wieku i tym samym ważny punkt odniesienia. Analizowany materiał dyskograficzny stanowi ok. 500 albumów (nie tylko z muzyką nieszporną) wydanych w latach 1952–2019. Skupiając się na zawartych treściach ikonograficznych i typograficznych w projektach graficznych albumów muzycznych, autor stawia pytania o sposób kształtowania się współczesnych wyobrażeń na temat tego repertuaru oraz postaci i miejsc z nim związanych w kontekście fonografii.

EN

In 1989, at St Mark’s Basilica in Venice, John Eliot Gardiner conducted and recorded Claudio Monteverdi’s Marian Vespers, published in 1610. Despite the print’s dedication to Pope Paul V, the three-year gap between the print being issued and Monteverdi taking up the post of maestro di cappella at St Mark’s and the considerable stylistic diversity of the pieces contained in that print, Gardiner considers Monteverdi’s Vespers as one coherent whole, for which the Venetian basilica was the target venue. Gardiner’s project has undoubtedly played a major role in how present-day audiences conceive of the 1610 Vespers. It has thus made a permanent mark on contemporary musical culture, as evidenced by the numerous reissues of the 1989 album and, most of all, productions by other musicians that associate the 1610 Vespers with St Mark’s. This article discusses the concept of ‘Monteverdi’s Vespers’ as represented in contemporary record releases of the composer’s works. This concept refers both to Monteverdi’s Vespro della Beata Vergine, published in 1610, and to various modern compilations of his works which musicians, musicologists and producers refer to as ‘Vespers’. The great wealth of Vespers-related pieces held in libraries and archives still considerably outweighs the number of performances and recordings of those works. Monteverdi’s Vespers, on the other hand, make up the majority of existing recordings of seventeenth-century polyphonic Vespers and thus constitute a key point of reference. I analyse around 500 albums (not only with Vespers music) released between 1952 and 2019, focussing on their iconographic and typographic content, as well as their graphic designs, in an attempt to show how the modern vision of this repertoire came to be formed and what persons and places are associated with this current in the history of early music recording.

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1 Sympozjum

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1 Jeż T.

1 Louviot M.

1 Solecka J.

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Emigracja wewnętrzna Giacinto Scelsiego — studium przypadku

Partimento – praktyka czy sztuka?1

Giacinto Scelsi - homo viator and his musical itinerary

Studies on the reception of Italian music in central-eastern Europe in the 16th and 17th century, red. Marina Toffetti, Kraków 2018 Musica Iagellonica, ss. 203. ISBN 978-83-7099-221-7

Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku

Early Music Recordings as Mythography: Monteverdi and the ‘Other’ Vespers