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The Collection of Manuscripts of Carl Ditters von Dittersdorf ’s Symphonies from Sächsische Landesbibliothek—Staats- und Universitätsbibliothek Dresden

100%
Kula M.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35) Eng
63-92
EN
Dresden played no role in Carl Ditters von Dittersdorf ’s life. But history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes third richest collection of symphonic works by this composer. The majority of sources comes from the court’s theatre of Duke Frederic August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf ’s symphonies of all known archives. There are several composer’s autographs, partial autographs, a large variety of works of all compositional periods, a few unique copies of symphonies. A minor body of Dittersdorf ’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (from the time of Dittersdorf) including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently performed on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores prepared by C. Mehner.
2

Kolekcja rękopisów symfonii Carla Dittersa von Dittersdorfa z Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden

100%
Kula M.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35)
63-90
EN
Dresden played no role in Carl Ditters von Dittersdorf ’s life. But history made this city one of the most significant places regarding preserved sources of his works. In the Department of Special Collections (German: Sondersammlungen) of the Sächsische Landesbibliothek—Staats- und Universitätsbibliothek in Dresden (English: Saxon State and University Library Dresden, abbr.: SLUB), there are, among others, more than thirty archival sources containing Carl Ditters von Dittersdorf’s symphonies. That makes third richest collection of symphonic works by this composer. The majority of sources comes from the court’s theatre of Duke Frederic August Braunschweig-Oels in Oels (Öls, Polish: Oleśnica). It is one of the most representative collections of Dittersdorf ’s symphonies of all known archives. There are several composer’s autographs, partial autographs, a large variety of works of all compositional periods, a few unique copies of symphonies. A minor body of Dittersdorf ’s symphonies comes from two different sources, until recently unknown. One group is the set of partbooks (from the time of Dittersdorf) including—apart from Dittersdorf’s works—several dozen movements of serenades, symphonies, string quartets etc. of G.B. Sammartini, J.G. Graun, J.Ph. Rameau, the Stamitz family and J. Haydn, apparently performed on the occasion of court activities, not in concerts. The second, from 1860s, is the set of scores prepared by C. Mehner.
3
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Intertekstualne aspekty V Symfonii „Requiem, Bardo and Nirmanakaya” Philipa Glassa

88%
Miklaszewska J.
Aspekty Muzyki
|
2017
|
vol. 7
157-173
EN
The analytical method used in the text refers to the article by Ryszard Nycz, Intertextual Poetics: Traditions and Perspectives, in which he defines intertextuality as a category defining the construction and meaning of the text (work of art), making its creation and reception dependent on the presence of other texts and architexts. Philip Glass’ Symphony No. 5 “Requiem, Bardo and Nirmanakaya” is noted for the presence of numerous other texts and architexts. These are the ideas of Tibetan Buddhism and Hinduism, multiculturalism, the reference to the ideas of Romanticism, and to the oratorio genres. The relationship of the 5th Symphony with the ideas of Tibetan Buddhism is reflected, among others, by the use of the texts from The Tibetan Book of the Dead and Shantideva’s Bodhicaryavatara (A Guide to the Boddhisattva’s Way of Life). The connection with the Hindu tradition manifests itself in the use of the texts from the Rig Veda, the Bhagavad Gita, and The Vishnu-Purana. The multiculturalism of Symphony No. 5 is reflected in the use of literary texts taken from a number of different sources. The reference to Romantic style in the Symphony No. 5 is manifested in such features as: melodious vocal parts, neotonality, varied formal structures, predominant use of homophony, contrasting various types of expression in different movements, and the occurrence of great culminations. In the “macroform” of the work the idea of the three parts is highlighted, which binds it to the cyclical form typical of the symphony. As noted by R. Maycock (2002), the sequence of the three themes discussed in the symphony: (1) creation and pre-creation myths, (2) fundamental problems of life and death, (3) visions of apocalypse and paradise and reference to the future, is reflected in the three sections of the composition plan. The relationship with the oratorio genre is demonstrated by setting the piece in 12 vocal-instrumental movements and the important role of the choir.
4
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Czwarta Symfonia Henryka Mikołaja Góreckiego jako przejaw „muzyki w muzyce”

75%
Karwaszewska M.
Edukacja Muzyczna
|
2015
|
issue 10
93-105
PL
Długo wyczekiwana na świecie Symfonia nr 4 „Tansman Epizody” na orkiestrę symfoniczną z organami i fortepianem obbligato H.M. Góreckiego powstała już w 2006 roku, jako hołd złożony Aleksandrowi Tasmanowi – kompozytorowi słowiańskiemu. Górecki pozostawił dzieło swojemu synowi Mikołajowi Góreckiemu w rękopisie do zinstrumentowania. Kompozycja została napisana na zamówienie czterech instytucji, w tym Andrzeja Wendlanda, dyrektora Międzynarodowego Festiwalu i Konkursu Indywidualności Muzycznych Tansman w Łodzi. Jak już wiadomo, utwór po śmierci kompozytora został dokończony przez Mikołaja Góreckiego i czterokrotnie prawykonany (Londyn, Los Angeles, Amsterdam, Łódź). Światowa premiera kompozycji odbyła się 12 kwietnia 2014 roku w Londynie przez London Philharmonic Orchestra pod dyrekcją Andreya Borejki. Czteroepizodowa symfonia nie jest kontynuacją swojej „poprzedniczki” – Symfonii pieśni żałosnych, a tytuł utworu błędnie kieruje odbiorcę w stronę twórczości Tansmana. To nazwisko kompozytora zawarte w tytule staje się muzycznym anagramem, będącym budulcem głównego tematu symfonii. Celem artykułu jest przedstawienie utworu w perspektywie intertekstualnej, jako przejawu muzyki inkluzywnej w twórczości H.M. Góreckiego.
EN
A long awaited in the world, H.M. Górecki’s Symphony No. 4 ‘Tansman’s Episodes’ for grand orchestra with obbligato organ and piano was written in 2006, as a tribute to a Slav composer, Aleksander Tansman. Górecki left the short score manuscript for his son, Mikołaj Górecki, to orchestrate. The composition was commissioned by four institutions, including the Tansman International Festival of Music Personalities in Łódź, represented by the Festival director, Andrzej Wendland. After the composer’s death, the work was completed by Mikołaj Górecki and has had four premieres (London, Los Angeles, Amsterdam, Łódź). The world premiere of the composition took place on April 12, 2014 in London, performed by London Philharmonic Orchestra directed by Andrey Borejko. The four-episode symphony is not a continuation of its “predecessor” – ‘Symphony of Sorrowful Songs’, and the title of the piece misleadingly directs the audience towards the works of Tansman. The composer’s name, included in the title, becomes a musical anagram which is the building material for the symphony’s main theme. The aim of the presentation is to show the work from an intertextual perspective, as a manifestation of inclusive music in the artistic output of H.M. Górecki.
5
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‘Looking out fo r the Horizon The music of Gustav Mahler in the light of the theory of the aesthetic of reception by Hans Robert Jauss

75%
Mika B.
Interdisciplinary Studies in Musicology
|
2014
|
issue 13
189-202
PL
The theory of the aesthetic of reception proposed by Jauss in the field of literature can be applied to research into the reception of the music of Gustav Mahler. In creating his symphonies ‘with every means of accessible technique’, the composer achieved what might be described as a reinterpretation of the conception of selected genres. In this way he disturbed the traditional ‘horizon of expectations’ of the potential audience, and significantly distanced himself from it. The most important consequence of this was the lack of understanding of his music by a section of his contemporary audience. Mahler justified the rightness of his own creative intuition with the famous sentence ‘my time will come’. In her article the author presents the fundamental theses of Jauss’s aesthetic of reception relating to his understanding of the ‘horizon of expectations’. She also indicates the manner in which Mahler distanced himself from that ‘horizon’, and how in individual symphonies he contributed to the expansion and reinterpretation of conceptions of genres which had previously been based on knowledge shared by the composer and the listener.
6
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Goreckïs creative journeys between nature and culture. Around the ‘Copernicari Symphony

63%
Małecka T.
Interdisciplinary Studies in Musicology
|
2009
|
issue 8
173-188
PL
Henryk M. Gôrecki’s oeuvre is characteristic in its almost constant oscillation between meditation on the world, the universe, nature, and implication in history, tradition, culture; between the delight in the beauty of nature and the delight in culture. ‘We were no longer the centre of the universe, we became nothing.’This idea of the composer was fundamental for his creation of his II Symphony. Its two-movement form was a consequence of his own understanding of the Copernican revolution. Its Latin text was derived from the Book of Psalms; due to the circumstances of its commission, it also includes a fragment from Copernicus tractate. The distribution of tension in the first movement is non-trivial. Judging by the composer’s “cosmic” fascinations, the beginning is a “Big Bang”. The central climax of this movement appears in its finale, when the huge chorus sings and cries the words of the Psalms. In Movement Two we are ushered into a different, a lyrical world of contemplation. The soloists are singing in traditional and simplest possible way. The chorus, harmonized modally is singing the words of Nicolaus Copernicus about the “heaven” - “beauty” relation. Chorale-like, they place us in a transcendental dimension. The work is crowned with long-standing yet pulsating sonorities of the orchestral mass in pentatonic interval structure, resolved into an A flat major triad: in the tradition of Baroque rhetoric, depicts emotions of stillness, of the calm of the night; in late Romanticism - the emotion of mild and solemn. Perhaps these sonorities of the orchestral mass in the finale - that is exactly the sound of the Universe as Górecki has been expressed?
7
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The Musicality of the Triune God in Selected Medieval Writings

51%
Bertoglio C.
Wrocławski Przegląd Teologiczny
|
2023
|
vol. 31
|
issue 1
43-69
PL
Próby wyrażenia niewysłowionej tajemnicy Trójcy Świętej były zawsze wyzwaniem dla autorów i teologów pragnących ująć istotne prawdy o Bogu za pomocą słów. W poszukiwaniu odpowiedniego i adekwatnego języka w pismach teologicznych odwoływano się do terminów muzycznych. Terminy takie jak symfonia i harmonia były używane już w epoce patrystycznej zarówno przez ortodoksyjnych, jak i heretyckich pisarzy w dyskusjach na temat Trójcy Świętej. Po ostatecznym ustaleniu i upowszechnieniu się właściwego słownictwa dla ortodoksyjnej dyskusji na tematy trynitarne terminy muzyczne lub związane z muzyką zostały odłożone na bok na rzecz teologicznie usankcjonowanych. W średniowieczu jednak przetrwały pewne pozostałości tych wczesnych praktyk i dały życie całemu nowemu nurtowi literatury teologicznej i duchowej, która z kolei była głęboko spleciona z mistycznymi doświadczeniami świętych mężczyzn i kobiet, twierdzących, że doświadczyli tajemnicy trynitarnej w wizjach lub kontemplacji i opowiadających o przeżyciach muzycznych w doświadczaniu Trójjedynego Boga. Z kolei poezja duchowa często wykorzystywała muzyczne metafory lub analogie, aby wyrazić różne aspekty trynitarnej natury Boga, wzmacniając w ten sposób przekaz i rolę muzyki w nim. Oddając hołd mistrzowskiej teologii muzyki Josepha Ratzingera/Benedykta XVI, jego doświadczeniu jako muzyka i głębi jego zrozumienia, w jaki sposób muzyka i teologia przeplatają się, niniejszy artykuł omawia wybrane tematy łączące muzykę i Trójcę Świętą, zawarte w duchowej teologii średniowiecznych autorów.
EN
The ineffable mystery of the Holy Trinity has always represented a complex challenge for authors and theologians wishing to express meaningful truths about it through words. In the quest for a language which could be not entirely inappropriate and inadequate, musical terms have found their way in theological writings. This happened already in the Patristic era, when, for instance, terms such as symphonia and harmonia were employed, by both orthodox and heretical writers, in their discussions about the Trinity. When the lexicon for a proper orthodox discussion of Trinitarian subjects was finally established and became commonly employed in theological and spiritual writings, musical or musically related terms were set aside in favour of the theologically sanctioned vocabulary; yet, in the Middle Ages, some remnants of these early practices survived. Not only so; in fact, they gave life to a whole new stream of theological and spiritual literature, which, in turn, was deeply intertwined with the mystical experiences of holy men and women who claimed to have experienced the Trinitarian mystery in visions or in contemplation, and who related about the “musicality” of their experiences of the Triune God. Spiritual poetry, in turn, frequently employed musical metaphors or analogies for expressing something of God’s Trinitarian nature, thus strengthening a shared narrative and the role of music in it. Paying homage to Joseph Ratzinger / Benedict XVI’s masterful theology of music, to his experience as a musician and to the depth of his understanding of how music and theology intertwine, this article discusses some themes connecting music and the Trinity, as found in the spiritual theology of medieval authors.
8
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Nowe dane biograficzne o twórcach symfonii w Polsce przełomu XVIII i XIX wieku

45%
Stepan K.
Muzyka
|
2024
|
vol. 69
|
issue 1
85-103
EN
This article presents new information concerning seven Polish symphony composers of the Enlightenment: Gaetano (Kajetan Mayer), A. Haczewski, J. Wański, K. Pietrowski, G. Paszczyński, I. Kasprzykowski and M. Kuci. The information comes mainly from church and state registry records (from Warsaw, Poznań, Kraków and Częstochowa), other archive documents and press materials. These sources have made it possible to relate the activities of these composers (about whom we previously had no information) to specific dates and places, to reconstruct their biographies to some extent, and to supplement what we previously knew about them.
PL
Artykuł przedstawia nowe dane o siedmiu spośród tych kompozytorów polskich przełomu XVIII/XIX w., którzy w swym dorobku pozostawili symfonie. Głównym źródłem informacji są księgi metrykalne z archiwów kościelnych i państwowych (Warszawa, Poznań, Kraków, Częstochowa), a także inne archiwalia i dawna prasa. Źródła te pozwoliły osadzić w czasie i miejscu działalność kompozytorów, o których dotąd brak było jakichkolwiek informacji, w pewnym stopniu odtworzyć ich biografie, bądź uzupełnić znane już dane.
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