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EN
The output of Polish composers active at the turn of the twentieth century has largely been forgotten and is still waiting to be properly researched nowadays. Józef Wieniawski and his oeuvre, which once used to attract the attention of both Polish and foreign critics, is a case in point. This article seeks to provide a synthetic study of this subject on the basis of 19th-century literature.
PL
The cycle 24 Etudes in All Major and Minor Keys op. 44 by Józef Wieniawski (1837-1912) demonstrates the essential unity of the virtuoso and the composer in a dynamic process of transforming the genre. This played an important part in providing innovative solutions not only in relation to piano-playing, but also in its significant influence on the development of texture, diversification of the instrumental sound and the expansion of means of musical expression in nineteenth-century piano music. Wieniawski, following Transcendental etudes or Concert etudes by Liszt, whose pupil he was in Weimar, blurs the boundaries between improvisation and composition; he draws attention to the unique nature of interpretation, its singularity and the specificity of the moment in time when the work is performed. Continuing the tradition of the grand cyclic form as a special kind of universum, he implements the concept of diversity in unity. The 24 characteristic miniatures reveal contextual links, intra-musical relationships, and the quest for individual solutions. This problematic concerns issues such as symbolic references, which lead one to an extensive catalogue of expressive qualities.
EN
Joseph Wieniawski is among the most outstanding, acknowledged and recognized Polish composers living and creating at the turn of the 20th century. Over the years, he’s gained a well-deserved name as a real cosmopolitan, a traveling artist who performed in front of the most noble public, in the most prestigious centers and concert halls all over Europe. The collected source material reveals the city of London as his favourite destination, probably for family reasons. The analysis of resources made it possible to recreate fragments of Józef Wieniawski’s artistic path, bringing forgotten facts from the artist’s life.
PL
Józef Wieniawski, należący do grona najwybitniejszych polskich kompozytorów przełomu XIX i XX wieku, jeszcze za życia zyskał miano kosmopolity – artysty wędrującego, który odwiedzał najodleglejsze zakątki Europy, koncertując przed publicznością w najbardziej prestiżowych ośrodkach Starego Kontynentu. Na podstawie zgromadzonych źródeł i przeprowadzonej analizy należy stwierdzić, że Londyn był jednym z najczęściej odwiedzanych miast przez brata słynnego skrzypka, zapewne z powodów rodzinnych. Analiza zgromadzonych źródeł pozwoliła na odtworzenie fragmentu ścieżki artystycznej, ujawniając tym samym zapomniane fakty z życia artysty.
EN
The life and works of Joseph Wieniawski still requires elaboration on many levels. The activity of the Polish pianist and composer, which he conducted in the Scandinavian Peninsula, is part of this scope. One should also mention the involvement of his older brother Henryk – a violinist. When addressing this issue, it is also worth a note to the relationship with the local artistic community, thanks to one of its leading representatives. The aim of this article is therefore to fill another gap in the research on the composer’s heritage.
PL
Życie i twórczość Józefa Wieniawskiego na wielu płaszczyznach wciąż wymaga opracowania. W ten zakres wpisuje się działalność polskiego pianisty i kompozytora, jaką prowadził na terenie Półwyspu Skandynawskiego. Należy wspomnieć również o zaangażowaniu jego starszego brata Henryka – skrzypka. Poruszając niniejsze zagadnienie, warto jednocześnie zwrócić uwagę na relacje z tamtejszym środowiskiem artystycznym, za sprawą jednego z jego czołowych przedstawicieli. Celem niniejszego artykułu jest zatem wypełnienie kolejnej luki w badaniach dotyczących kompozytora.
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