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La buona figliuola Carla Goldoniego a Czekina albo cnotliwa panienka Wojciecha Bogusławskiego

100%
Grzywaczewska E.
Kwartalnik Młodych Muzykologów UJ
|
2015
|
issue 2(25)
15-27
EN
La buona figliuola (The Accomplish’d Maid) is an opera buffa in three acts by Niccolò Piccinni and Carlo Goldoni. The librettist based his text on Samuel Richardson’s novel Pamela, or Virtue Rewarded. It was performed for the first time at the Teatro delle Dame, Rome on 6th February 1760 with an all male cast. It was a big success and La buona figliuola took Europe by storm. Every European opera house had this opera in its repertoire. The performances were in: Barcelona, Prague, Vien, Dresden, London, Berlin, Mannheim and Paris. This opera was probably performed even in Beijing by Jesuits in 1778. La buona figliuola was so popular in Europe that Stanisław August Poniatowski, the King of Poland, wished it for his coronation ceremony. The performance took place at the National Theatre on 7th August 1765, just five years after the world premiere. This opera was also very popular in Warsaw. People loved the story of a simple and good maid Cecchina. Seventeen years later, Wojciech Bogusławski, the director of the National Theater, translated and adapted Goldoni’s opera and named it Czekina albo cnotliwa panienka (Czekina or a Virtuous Maid). He performed it in 1782 with big success. First of all, the article describes the historical context of the creation of libretto – the Carlo Goldoni’s biography. Next, it presents the story of maid Cecchina and the phenomenon of the description of the Polish theories of translation from the 18th century, the Polish version of the opera – Czekina or a Virtuous Maid, is presented. Finally, two versions of the libretto – the Goldoni’s and the Bogusławski’s, are compared.
2
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Agenor i Strabon, Papageno i Sarastro: Lwowskie meandry operowej biografii Wojciecha Bogusławskiego

86%
Chachulski J.
Pamiętnik Teatralny
|
2022
|
issue 2(281)
83-112
EN
This article refers to Zbigniew Raszewski’s findings regarding Wojciech Bogusławski’s acting roles in Lviv productions of the opera Amazonki (Amazons), the first joint work of Boguławski as librettist and the composer Józef Elsner. Based on incomplete information from Bogusławski’s Dzieła dramatyczne (Dramas), Raszewski concluded that the librettist played the Greek king Agenor. The analysis of the musical and literary elements of the opera generally confirms this, but it also suggests significant fluctuations in the author’s casting ideas. The aim of the article is to identify Bogusławski’s personal traces in the roles of both Agenor and Strabo. Hypotheses are also put forward regarding the moment in time and the reasons for changing the casting concept. The article expands the research on Bogusławski’s creative biography as an author, actor, and singer, using textual criticism (musical and literary sources), analyzing the cast in light of relevant operatic conventions, and employing analytical and interpretative tools of musicology and literary criticism, as well as comparative studies, to link fragments of the opera with Mozart’s The Magic Flute. An important methodological premise is the hitherto neglected possibility of using musicological tools in research on Bogusławski’s work and creative biography as a man of opera.
3
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Giovanni Battista Pergolesi i jego theatrum doloris

81%
Szywalski P., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.
Pro Musica Sacra
|
2013
|
vol. 11
EN
Stabat Mater is one of the last compositions by Giovanni Battista Pergolesi and today it is probably the most well-known and valued arrangement of those ancient sequences. The composer translated the incredibly moving medieval poem into the sounds with a great mastery. He managed to create a musical fresco placing us in the centre of the suffering true mystery. The power of his music is so real and stimulating that it is not possible to remain indifferent.The following essay presents the phenomenon of Pergolesi’s artistic genius on the background of that time cultural changes and it focuses on his posthumous fame. The author analyses the composer’s achievement of galant style and discusses Pergolesi’s Stabat Mater in relation to the language of emotions related to sentimental literature. Moreover, he suggests to comprehend that music through the prism of the Italian Marian devotion phenomenon. Scientists are still intrigued by the figure of Giovanni Battista Pergolesi. They try to reconstruct his life story and to deal with the confusion concerning his legacy. The success story of Pergolesi’s Stabat Mater is particularly interesting. Thus, successive generations of musicologists ask a question what the fame origin of this work and its creator could be. The author of this essay presents a few clues that might help us to get closer to the answer to this question.
PL
Stabat Mater is one of the last compositions by Giovanni Battista Pergolesi and today it is probably the most well-known and valued arrangement of those ancient sequences. The composer translated the incredibly moving medieval poem into the sounds with a great mastery. He managed to create a musical fresco placing us in the centre of the suffering true mystery. The power of his music is so real and stimulating that it is not possible to remain indifferent.The following essay presents the phenomenon of Pergolesi’s artistic genius on the background of that time cultural changes and it focuses on his posthumous fame. The author analyses the composer’s achievement of galant style and discusses Pergolesi’s Stabat Mater in relation to the language of emotions related to sentimental literature. Moreover, he suggests to comprehend that music through the prism of the Italian Marian devotion phenomenon. Scientists are still intrigued by the figure of Giovanni Battista Pergolesi. They try to reconstruct his life story and to deal with the confusion concerning his legacy. The success story of Pergolesi’s Stabat Mater is particularly interesting. Thus, successive generations of musicologists ask a question what the fame origin of this work and its creator could be. The author of this essay presents a few clues that might help us to get closer to the answer to this question.
4
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Valentino Fioravanti i duet z opery „Echo w Lesie” Wojciecha Pękalskiego i Józefa Elsnera

81%
Chachulski J.
Muzyka
|
2022
|
vol. 67
|
issue 1
151-163
EN
One of the six numbers in the one-act opera Echo w lesie [An echo in the woods], previously considered to be the work of Józef Elsner, actually uses music (in a virtually unaltered form) from Valentino Fioravanti’s opera Il furbo contra il furbo (the duet ‘Con un aria schizzinosa’). The borrowing, although acknowledged on the poster for the work’s premiere, has remained unidentified until now. This discovery invalidates some of the theses of my own paper titled ‘Echo w lesie Józefa Elsnera i Wojciecha Pękalskiego – późny pogłos włoskiego intermezza na warszawskiej scenie narodowej?’ [Józef Elsner and Wojciech Pękalski’s An Echo in the Woods: a late reference to Italian intermezzi in the repertoire of Warsaw’s National Theatre?] (Muzyka, 65/2, 2020), but at the same time contributes new arguments in favour of recognising the preserved score of Echo as that used for the work’s premiere.
PL
Jeden z sześciu numerów jednoaktowej opery Echo w lesie, dotychczas uznawanej za dzieło Józefa Elsnera, w rzeczywistości wykorzystuje muzykę duetu „Con un aria schizzinosa”  z opery Il furbo contra il furbo Valentina Fioravantiego, w praktycznie niezmienionej postaci. Zapożyczenie, choć sygnalizowane na premierowym afiszu, dotąd nie zostało zidentyfikowane. Odkrycie to przekreśla niektóre tezy stawiane przeze mnie w artykule „Echo w lesie Józefa Elsnera i Wojciecha Pękalskiego – późny pogłos włoskiego intermezza na warszawskiej scenie narodowej?” (Muzyka 65 (2020) nr 2), choć zarazem dodaje nowe argumenty za uznaniem premierowego pochodzenia zachowanej partytury Echa.
5
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Agenor i Strabon, Papageno i Sarastro: Lwowskie meandry operowej biografii Wojciecha Bogusławskiego

81%
Chachulski J.
Pamiętnik Teatralny
|
2022
|
vol. 71
|
issue 2
83-112
EN
This article refers to Zbigniew Raszewski’s findings regarding Wojciech Bogusławski’s acting roles in Lviv productions of the opera Amazonki (Amazons), the first joint work of Boguławski as librettist and the composer Józef Elsner. Based on incomplete information from Bogusławski’s Dzieła dramatyczne (Dramas), Raszewski concluded that the librettist played the Greek king Agenor. The analysis of the musical and literary elements of the opera generally confirms this, but it also suggests significant fluctuations in the author’s casting ideas. The aim of the article is to identify Bogusławski’s personal traces in the roles of both Agenor and Strabo. Hypotheses are also put forward regarding the moment in time and the reasons for changing the casting concept. The article expands the research on Bogusławski’s creative biography as an author, actor, and singer, using textual criticism (musical and literary sources), analyzing the cast in light of relevant operatic conventions, and employing analytical and interpretative tools of musicology and literary criticism, as well as comparative studies, to link fragments of the opera with Mozart’s The Magic Flute. An important methodological premise is the hitherto neglected possibility of using musicological tools in research on Bogusławski’s work and creative biography as a man of opera.
PL
Artykuł nawiązuje do ustaleń Zbigniewa Raszewskiego na temat aktorskiego udziału Wojciecha Bogusławskiego w lwowskich wystawieniach opery Amazonki, pierwszego wspólnego dzieła Bogusławskiego – jako librecisty – i Józefa Elsnera. Na podstawie niepełnych informacji z Dzieł dramatycznych librecisty Raszewski stwierdził, że Bogusławski występował w roli greckiego króla Agenora. Analiza muzycznego i literackiego współczynnika opery, zasadniczo potwierdzając to ustalenie, pozwala domyślać się istotnych fluktuacji w kształtowaniu się autorskich intencji obsadowych. Celem artykułu jest identyfikacja „osobistych” śladów Bogusławskiego obecnych zarówno w roli Agenora, jak i Strabona; postawione zostają także hipotezy dotyczące momentu i przyczyn zmiany koncepcji obsadowej. Artykuł rozwija badania nad biografią twórczą Bogusławskiego jako autora, aktora i śpiewaka, wykorzystując krytykę tekstu (źródła muzyczne i literackie), analizę obsady w świetle odpowiednich konwencji operowych, muzykologiczne i literaturoznawcze narzędzia analityczne i interpretacyjne, a także komparatystykę – by połączyć fragmenty opery z Czarodziejskim fletem Mozarta. Istotnym założeniem metodologicznym jest wykorzystanie zaniedbywanej dotąd możliwości odwołania się do narzędzi muzykologicznych w badaniach twórczości i biografii twórczej Bogusławskiego jako człowieka opery.
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