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JAN KARLOWICZ - A PORTRAIT WITH MIECZYSLAW IN THE BACKGROUND

100%
Wagiel A.
Muzyka
|
2005
|
vol. 50
|
issue 4(199)
67-103
EN
The article presents a portrait of Jan Karlowicz (1836-1903), the father of Mieczyslaw. The author refers to Jan Karlowicz's work as a historian and linguist, which is generally known, but concentrates on his activities as a musician, composer and musicographer, an aspect of his persona which has been little known so far. The issues discussed here present a picture of the home environment in which Mieczyslaw Karlowicz grew up. On the basis of extant documents the authoress reconstructs, among other things: the musical education of Jan Karlowicz as a cellist and pianist and his activities as a virtuoso cellist. She also discusses his work as a translator of works on the theory of music, a teacher of a class of ensemble music at Warsaw Music Conservatory, an author of a proposal for new musical notation, a participant of cultural events of nineteenth-century Europe and America, a member and activist of Warsaw musical societies, and an initiator of research into the works of Polish composers. A separate area of interest presented in the article is Jan Karlowicz's work as a composer, known from extant scores and the works of his first biographers.
2

BRATISLAVA AKO HUDOBNÝ FENOMÉN V POSLEDNEJ TRETINE 19. STOROČIA

88%
Lengová J.
Musicologica Slovaca
|
2010
|
vol. 1 (27)
|
issue 2
183-219
EN
In Bratislava (Pressburg, Pozsony, Presporok), which remained an important centre of musical culture during the last third of the 19th century, a differentiated, richly structured musical life continued to develop. It encompassed various forms and occasions of musical cultivation, sacred and profane music, activities of musical societies, concerts, musical theatre, chamber music, domestic music-making, art music and popular music. The central institution was the Church Music Association at St. Martin’s Cathedral (Kirchenmusikverein zu St. Martin), which apart from church productions also regularly organised concerts of the secular music. Exceptional interest was aroused by the work of F. Liszt, who personally visited Bratislava several times. The most important local composers (K. Mayrberger, J. Thiard-Laforest, L. Burger) were adherents of late romanticism. Bratislava’s musical milieu was formed in an interaction with visiting musicians, and among those who grew up in this creative environment were some internationally famous musical personalities (F. Schmidt, E. von Dohnanyi, B. Bartok).
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