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1
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Utwory klawesynowe Weroniki Ratusińskiej-Zamuszko – między przeszłością a współczesnością

100%
Woźniak M.
Kwartalnik Młodych Muzykologów UJ
|
2022
|
issue 2(53)
33-58
EN
The article is devoted to two works by Weronika Ratusińska-Zamuszko: the cycle Nymphs for soprano saxophone and harpsichord, and the miniature For Berenika. A miniature in the Baroque style. The introduction contains information about the composer and basic facts about the pieces in question. In the following sections of the article the author analyses: harmony (tonal arrangement and harmonic relations), form (formal models, motifs, rhythms), texture and sound as well as aesthetic aspects. Based on these elements, the key determinants of the composer's style are presented, referring to the Baroque techniques as well as those typical of the postmodern musical language, also discussing the issues of non-musical content resulting from the programme titles of the works. In the analytical part, the author presents an innovative analytical method consisting in reducing the notation of the harpsichord part to the basso continuo notation to verify the thesis that the choice of the instrument (in this case, the harpsichord) determines the style of the composition. The analytical argument leads to interesting research conclusions and is an attempt to define the composer's musical language.
2
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Sonate per uno o due Cembali con il basso cifrato Bernarda Pasquiniego – błaha rozrywka czy kunsztowna szarada?

88%
Solecka J.
Kwartalnik Młodych Muzykologów UJ
|
2020
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issue 4(47)
27-69
EN
The 14 Sonatas for two harpsichords from Sonate per uno o due Cembali con il basso cifrato by B. Pasquini (British Library of London, position: Ms. Add. 31501, I) are unique examples of double partimento. So far, not many performers have referred to these works; therefore, they deserve much more attention. Employing contrapunctual techniques in their realisation seems highly interesting. The author describes and provides her own poliphonic realisation of selected pieces from this collection: Sonata II ms. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 ms. I and II. This material may be an encouragement for farther studies and performance of these works. They are worthy to be a part of the widely known performance of these works.
3

Partimenti Bernarda Pasquiniego – studium realizacji wybranych Bassi ze zbioru Sonate per uno o due Cembali con il basso cifrato1

88%
Solecka J.
Kwartalnik Młodych Muzykologów UJ
|
2019
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issue 4(43)
5-60
EN
Bernardo Pasquini (1637–1710) was one of the very first composers to write partimenti, albeit he did not use the word “partimento”. He titled his works for one or two keyboards, written in the form of basso continuo, as Basso, Basso continuo, Sonata, Versetto etc. One of his manuscripts that include partimenti, entitled Sonate per uno o due Cembali con il basso cifrato, is held in the British Library of London, under the signature number Ms. Add. 31501, I. Two works from this collection, Basso Continuo [II] and [Basso IV], are realised by the Author as fully composed pieces and presented below. The realisation of these Partimenti intends to engage a polyphonic texture according to the rules of basso continuo and counterpoint adequate to the aesthetics and techniques of the music from the Baroque era. Realisations represent different genres of instrumental music of the 18th century, they apply counterpoint (fugue, fughetta and imitation texture) or freer techniques (figurative sonata, polyphonic fantasia).
4
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Bernardo Pasquini’s Sonate per uno o due Cembali con il basso cifrato: Simple Entertainment or an Elaborate Charade?

88%
Solecka J.
Kwartalnik Młodych Muzykologów UJ
|
2020
|
issue 4(47) ENG
25-68
EN
The fourteen sonatas for two harpsichords from the collection Sonate per uno o due Cembali con il basso cifrato by Bernardo Pasquini (British Library of London, shelf mark: Ms. Add. 31501, I) are unique examples of double partimento. Few performers have taken up these works so far; they deserve much more attention. Employing contrapuntal techniques in their execution offers very interesting possibilities. The author describes and presents her own polyphonic interpretations of selected pieces from this collection: Sonata II mm. I, II, III; Sonata V m. II; Sonata VII a due m. I; Sonata X a 2 m. II; Sonata XIII a 2 mm. I and II. This material may serve as encouragement for further studies and performance of these works. They are worthy of becoming part of staple concert repertoires.
5

The Art of Playing Keyboard Instruments in the Late 17th and Early 18th Centuries. Monsieur de Saint-Lambert and his Les principes du clavecin (1702)

51%
Aleksandrowicz M.
Roczniki Teologiczne
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2015
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vol. 62
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issue 13. Muzykologia
5-23
EN
This article concerns the execution of the ornaments—a very important question in the stylistic interpretation of the French harpsichord baroque music. The starting-point for reflection is treatise of the Monsieur de Saint-Lambert, a very enigmatic person, the author of Les principes du clavecin, centenant une explication exacte de tout ce qui concerne la tabulature et le clavier avec des remarques necessaires pour l’inteligence de plusieurs difficultées de la musique (The fundamentals of harpsichord playing, with explanations on musical notation and performance, together with explanatory remarks about different music issues), issued in 1702. He was highly valued as a harpsichord teacher and his treatises concerned the different aspects of playing keyboard instruments are the only preserved evidence of his musical and educational activities. It must be noticed that Saint-Lambert was the author of one of the oldest French treatises dedicated solely to the issues of harpsichord playing and his teaching method of mastering the instrument was at that time quite pioneering. The most important part of his treatise is the last nine chapters, focused on practical issues, where we can find the author’s advice on different aspects of existing keyboard music. The main problem in performing harpsichord music at Saint-Lambert’s time was the proper interpretation of music notation, which due to technical constraints (not yet perfect printing and editing of music works), was not able to reflect the whole variety of nuances of contemporary music style. So, the treatise Les principes du clavecin is a very helpful key to the understanding of the 18th century music.
PL
Niniejszy artykuł dotyczy wykonawstwa ozdobników – kwestii niezwykle istotnej przy stylowej interpretacji francuskiej muzyki klawiszowej okresu baroku. Punktem wyjścia jest treść traktatu Saint-Lamberta (określanego jako „Monsieur de Saint-Lambert”), postaci niezwykle enigmatycznej, autora wydanego w roku 1702 Les principes du clavecin, centenant une explication exacte de tout ce qui concerne la tabulature et le clavier avec des remarques necessaires pour l’inteligence de plusieurs difficultées de la musique (Zasady gry na klawesynie, zawierające dokładne wyjaśnienie wszystkiego, co wiąże się z notacją i klawiaturą oraz uwagi niezbędne dla zrozumienia wielu aspektów dotyczących muzyki). Saint-Lambert był osobą muzycznie niezwykle aktywną i cenioną jako nauczyciel gry na instrumentach klawiszowych, jednak jedynym zachowanym tego świadectwem są wyłącznie jego traktaty dotyczące różnych aspektów gry. Należy podkreślić, że jest on autorem jednego z najstarszych francuskojęzycznych traktatów poświęconych sztuce gry na klawesynie, zaś jego metoda nauczania jest dziś oceniana jako pionierska. Najważniejszą część omawianego traktatu stanowi ostatnie dziewięć rozdziałów, które zostały poświęcone muzycznej praktyce i w których autor przedstawia swoje własne ujęcie wielu aspektów gry klawiszowej. Najistotniejszym elementem owej gry klawesynowej w czasach Saint-Lamberta była umiejętność odczytywania zapisu nutowego, który ze względów technicznych (niedoskonałości ówczesnego druku muzycznego) nie były w stanie oddać wszystkich niuansów ówczesnego stylu muzycznego. Traktat Les principes du clavecin jest więc bardzo pomocnym źródłem umożliwiającym zrozumienie muzyki XVIII wieku.
6

Sztuka „akompaniamentu” klawesynowego w XVIII-wiecznej Francji Zasady realizacji basse continuë według anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition (c. 1700)

45%
Aleksandrowicz M.
Roczniki Teologiczne
|
2018
|
vol. 65
|
issue 13: Muzykologia
183-101
EN
This article concerns the performance practice of harpsichord-playing in 18th century France. The starting-point for reflection is anonymous manuscript ‘Traité d’accompagnement du clavecin et abrégé de composition’ (ca.1700) written in the times when the French harpsichordists and organists begin to open up to the style of keyboard playing developed in 17th century Italy. In this manuscript we can find the explanation of the system of abbreviation utilized to mark chordal relationships and the remarks on harpsichord ‘accompaniment’, ie the rules of playing a multi-voice harpsichord part based on the marks written above the bass line (the so-called ‘basse continuë’).
PL
Artykuł przedstawia treść anonimowego rękopisu Traité d’accompagnement du clavecin et abrégé de composition z XVII/XVIII w. Spisano go w czasach, w których francuscy klawesyniści i organiści zaczęli się otwierać na stylistykę gry wypracowaną w XVII-wiecznej Italii. W rękopisie odnaleźć można szereg uwag dotyczących zasad akompaniamentu na instrumentach klawiszowych, czyli realizacji wielogłosowej partii klawesynowej lub organowej w oparciu o umieszczone nad linią basu cyfry (tzw. basse continuë).
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