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Struktura semantyczno-formalna XVII-wiecznego zbioru Symfonije anielskie Jana Żabczyca

100%
Galilej C.
Poznańskie Spotkania Językoznawcze
|
2010
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vol. 21
33-48
EN
Symfonije anielskie mentioned in the paper’s title is a very popular collection of carols by an early Baroque court poet Jan Żabczyc. This rather small volume (36 compositions) became a part of the tradition of Polish religious song, and also, more broadly –history of Polish culture and is regarded as one of the most interesting phenomena in Polish Baroque religious lyric poetry. The aim of the present article is to analyse the following semantic and formal questions: the title, organization of the entire volume and its individual texts with the help of frame segments (the initial and final) as well as the fundamental section developing the plot. The presence of the abovementioned compositional elements determines the rudimentary organizational principles of the entire collection. Moreover, the indicated determinants of the collection or its sections provide information about more detailed questions: the form of presentation and the category of the sender and recipient. Careful composition of the entire collection and also every individual carol text demonstrates that while creating Symfonije Żabczyc pursued a predetermined structure, both in the selection of motifs as well as formal elements. The repetition of several structural models, similar arrangement of content and the use of the same set of stylistic and linguistic means provides compositional and stylistic transparency to Symfonije, which is especially significant for the collection due to the fact that all texts, according to the author’s intention, were primarily meant for singing. As it turned out, the collection of carols by Żabczyc enjoyed great popularity through ages, and several songs have been performed until today.
2
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Inspiracje polskim folklorem i pieśnią religijną w koncertach fortepianowych Wojciecha Kilara

84%
Miklaszewska J.
Roczniki Humanistyczne
|
2022
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vol. 70
|
issue 12
199-218
EN
The aim of this article is to show the relationship between the musical material and the aesthetic layer of Wojciech Kilar’s piano concertos and the Polish folklore tradition, as well as that of Polish religious songs and liturgical chants. Kilar’s two concertos for solo piano and the orchestra that are analysed in this article were composed in 1996-1997 and 2011, respectively. The folklore influences are most evident in Piano Concerto No. 2 which alludes to songs from the Podhale region. On the other hand, in both of Kilar’s concertos there are strong links to Polish religious songs and liturgical singing, appearing both as a musical quotation and (more often) as merely a reminiscence. In the further part of this article, referring to Mieczysław Tomaszewski’s methodology, the four stylistic idioms that make up the composer’s individual musical style in the third period of his creative activity are discussed. These are religious music, neoromanticism, folklore and postminimalism.
PL
Celem artykułu jest ukazanie związku materiału dźwiękowego oraz warstwy estetycznej koncertów fortepianowych Wojciecha Kilara z tradycją polskiego folkloru oraz polskiej pieśni religijnej i śpiewów liturgicznych. Pod tym kątem zostały przaanalizowane dwa koncerty Kilara na fortepian solo i orkiestrę, powstałe odpowiednio w latach 1996-1997 oraz 2011. Wpływy folkloru są najbardziej wyraźne w II Koncercie fortepianowym, w którym pojawiają się aluzje do pieśni podhalańskich. W obu koncertach Kilara natomiast pojawiają się silne związki materiału dźwiękowego z polską pieśnią religijną oraz śpiewem liturgicznym. Podjęte w dalszej części artykułu rozważania nawiązują do metodologii M. Tomaszewskiego i dotyczą obecnych w koncertach fortepianowych Wojciecha Kilara czterech idiomów stylistycznych, składających się na indywidualny styl muzyczny tego kompozytora w trzecim okresie twórczości. Są to: pierwiastek sacrum, nowy romantyzm, folkloryzm i postminimalizm.
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