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1

Granice ironii – granice iluzji. O ontologii postaci w „Eugeniuszu Onieginie” Aleksandra Puszkina i Piotra Czajkowskiego

100%

Borkowska-Rychlewska A.

Poznańskie Studia Polonistyczne. Seria Literacka

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2022

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issue 42

137-155

PL

The article presents the characteristics of the romantic irony employed in Alexander Pushkin’s digressive poem Eugene Onegin and Pyotr Tchaikovsky’s opera titled alike. The analysis of selected fragments of the libretto which were based on the verses constituting the digressive (rather than storytelling) layer of Pushkin’s work allow one to conclude that the operatic version of Onegin expresses exactly the same kind of romantic irony which was used by the romantic poet. The authors of the libretto achieved something typical of Pushkin’s irony – a flow of the border between illusion and disillusion and an effortless crossing of the dialectic borders of time and space. They did so by multiplying and splitting into layers the “I” of the main character which functions both in the dramatic plane and beyond it, taking over the functions which in Pushkin’s text were performed by the narrator.

2

Wybrane problemy interpretacyjne w VI Symfonii h-moll Patetycznej Piotra Czajkowskiego – uwagi dyrygenta

84%

KANIOWSKA M.

Edukacja Muzyczna

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2013

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issue 8

99-123

EN

The article is a complex study of interpretational analysis devoted to Pyotr Tchaikovsky’s Symphony No. 6 in h-minor op. 74 Pathétique. Introduction to the analysis is a short historic outline of development of symphony from its very beginnings to modern times, with emphasis put on crucial points, which are the turning points in the development of this kind of music. Then, the authoress concentrates on characterizing the symphonic language of Pyotr Tchaikovsky, and dis- cussed the Symphony No. 6 Pathétique starting from its genesis to a compact analysis of its form. She points out the elements, which are vital in creating a satisfactory conductors interpretation of the work. The final part of the work is comparison of six phonographic recordings of Tchai- kowski’s Symphony No. 6, made in the 20th century: Tchaikovsky, Symphony No. 6 Pathetique /Ozawa; Boston Symphony Orch. (CD, Erato 6702372), 1991; Czajkowski, Symfonia nr 6 Patetyczna/Semkow, WOSPR&TV in Katowicach (LP Muza SX 1808), 1979; Tchaikovsky, Symphony No. 6 Pathetique/Bernstein & New York Philharmonic (CD DG 419 604–2), 1987; Tchaikovsky, Symphony 6 Pathetique/Karajan, Berlin PO (CD, DG 427 862-2), 1964; Tchaikov- sky, Symphony No. 6 Pathetique/Nanut, Ljubljana Radio Sym Orch. (CD, Jan-1990, Pilz Vienna Masters Series), 1990; Tchaikovsky, Symphony No. 6 Pathetique/Ormandy, Philadelphia Orch (LP, Columbia ML 4544), 1953. According to the subjective assessment of the authoress, the recording of the Symphony made by New York Philharmonic, conducted by L. Bernstein, is closest to the ideal.

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ALBUM DLA MŁODZIEŻY PIOTRA CZAJKOWSKIEGO – SCENY Z ŻYCIA DZIECKA?

67%

Wasko T.

Ars inter Culturas

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2016

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issue 5

185-198

EN

One hundred and thirty years since its creation, Children’s Album, Op. 39 by Pyotr Tchaikovsky has been re-examined taking into account the composer’s manuscript and the piece’s long-term pianistic performing tradition. Recent musicological research suggests that the Album was written as a cyclic form, in which the constituent miniatures are inter-linked by common thematic material and tonal relations and share the same philosophic narrative. The article reviews possible motives behind composing the musical piece for children and the Tchaikovsky’s dramatic circumstances at the time that might have influ-enced its final form. The melodies and texts of the original songs exploited by the com-poser as well as tales and games for children introduced in the miniatures are presented. The author discusses technical aspects of mimicking instruments such as balalaika and bar-rel organ on the piano. Practical guidance on working with the Children’s Album from the point of view of a performer and a teacher is proposed.

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1 Ars inter Culturas

1 Edukacja Muzyczna

1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Borkowska-Rychlewska A.

1 KANIOWSKA M.

1 Wasko T.

1 2022

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Granice ironii – granice iluzji. O ontologii postaci w „Eugeniuszu Onieginie” Aleksandra Puszkina i Piotra Czajkowskiego

Wybrane problemy interpretacyjne w VI Symfonii h-moll Patetycznej Piotra Czajkowskiego – uwagi dyrygenta

ALBUM DLA MŁODZIEŻY PIOTRA CZAJKOWSKIEGO – SCENY Z ŻYCIA DZIECKA?