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1

WIRTUOZERIA FORTEPIANU ANNY MARII STAŃCZYK NA WYSPACH

100%

Lewandowska-Tarasiuk E.

Zeszyty Naukowe PUNO

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2018

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issue 6

241-246

EN

The presented article deals with the mastery phenomenon of the pianist Anna Maria Stańczyk and it made an attempt to outline the originality of her concerto knowledge. Numerous examples of unforgettable concertos performed by this artist in the rst-class music halls in Poland and all over the world were quoted. Moreover, the article mentions Ms. Stańczyk’s brilliant initiatives aimed at promoting Polish culture, concertos in Warsaw in the Royal Park of Lazienki, famous events of Floralia in which young, foreign pianists participated. Undoubtedly, this is where both her Polish identity and her presence in the world culture are expressed.

2

Bazhenov A. I. Ukrainian “music” (on the example of the violin miniature by I. F. Karabits “music”)

86%

Rіabinin A.

Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

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2023

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issue 10(3)

55-60

EN

The Ukrainian creative galaxy of outstanding Ukrainian composers and performers has forever entered its history into the world treasure of musical creativity. Respect for the history and revival of Ukrainian musical art revives a new generation in the spirit of dignity and pride for the country. On the example of the work of Ukrainian professional masters, a new page of deep understanding of the identity of the nation and the purpose of society is revealed, there is a definition of the importance of preserving the Ukrainian musical treasure, both composer and performing. The main principle of the creative combination “composer-performer-listener” is to highlight the beauty of the country where you live. Historical memory, folk wisdom, Ukrainian identity, the beauty of the nature of the Ukrainian corner, melodious songs and national traditions, all the colors of the nationality are at the heart of Ukrainian composers. Executive professionalism and sensual perception of the violinist’s music provides an even more colorful trend for the listener. The article analyzes the combination of the disclosure of the composer’s idea and performance. The play “Music” by Ivan Fedorovich Karabits for solo violin fully corresponds to the semantic meaning of the concept of “music”, corresponding to all folklore folk traditions, revealing the violinist and his violin. The images are multifaceted, boundless; Pictures of everyday life, love songs, folk tales and legends, Ukrainian songs, the beauty of the native land, the history of the Motherland, the courage of brothers, etc. All stages of the program are a common understanding of the deep, essential and significant contribution to the creation of the form, principles and content of the work. And the main purpose of a piece of music is to understand the composer’s intention and musical idea of both the performer and the one for whom he reveals the beauty of the play “Music”, which is simply an example of the possibility of improvisation. Listening to music performed by an outstanding Ukrainian violinist, you really feel the master, Ukrainian “music”, a real Ukrainian. Understanding the work has recently become a hot topic for research. It is the psychological and emotional possibilities of human qualities that are studied by a fairly new concept of scientific musicology, musical hermeneutics. The combination of the outstanding violinist Anatoly Ivanovich Bazhenov and the talent of expressing his thoughts on the musical palette of the Ukrainian composer of our time Ivan Fedorovych Karabits carries the beauty and pride of Ukraine, especially in a difficult time for our country, when there is a war. Such music and performances raise the national spirit and the desire to win.

3

Józef Wieniawski - Ferenc Liszt. Concert etude examined from the perspective of the genre

72%

Tatarska J.

Interdisciplinary Studies in Musicology

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2014

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issue 13

155-168

PL

The cycle 24 Etudes in All Major and Minor Keys op. 44 by Józef Wieniawski (1837-1912) demonstrates the essential unity of the virtuoso and the composer in a dynamic process of transforming the genre. This played an important part in providing innovative solutions not only in relation to piano-playing, but also in its significant influence on the development of texture, diversification of the instrumental sound and the expansion of means of musical expression in nineteenth-century piano music. Wieniawski, following Transcendental etudes or Concert etudes by Liszt, whose pupil he was in Weimar, blurs the boundaries between improvisation and composition; he draws attention to the unique nature of interpretation, its singularity and the specificity of the moment in time when the work is performed. Continuing the tradition of the grand cyclic form as a special kind of universum, he implements the concept of diversity in unity. The 24 characteristic miniatures reveal contextual links, intra-musical relationships, and the quest for individual solutions. This problematic concerns issues such as symbolic references, which lead one to an extensive catalogue of expressive qualities.

4

Sketch for a portrait of Kalkbrenner and Chopin

72%

Jasińska D.

Interdisciplinary Studies in Musicology

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2010

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issue 9

83-100

PL

In this article, the author sketches a portrait of Kalkbrenner and Chopin against the background of musical practice during the 1830s. On the basis of sources, including Chopin’s correspondence and the opinions of his contemporaries and of Chopin scholars, an attempt is made to distinguish characteristic features of the two composers in their mutual relations. Their contacts are outlined, as well as their artistic activities, with particular emphasis on Chopin’s first concert in Paris and the role of pianistic virtuosity linked with the style brillant. Attention is drawn to the properties of the Pleyel piano which Kalkbrenner and Chopin both preferred and to the differing playing aesthetics and artistic images of the two composer-virtuosos. Chosen for the purposes of stylistic comparison are their methods of piano playing, with the accent on the schematic nature of Kalkbrenner’s “finger technique”, whilst most crucial for Chopin was to bring out the beautiful quality of the sound. In the closing remarks, it is stated that the two musicians, in their pianistic, compositional and pedagogic activities, represented the distinct antithesis of one another and two different schools. Prominent in the portrait of Kalkbrenner are distinct connections with the convention of the style brillant, whilst the portrait of Chopin, who broke through those conventions, is marked by features more profound and individualised.

5

Joseph Woelfl1—Life and Artistic Activity

72%

Bogula E.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 2(37) Eng

27-62

EN

The present article constitutes an introduction to the artistic profile of Austrian composer and piano virtuoso Joseph Woelfl. This forgotten creative personality left an artistic legacy of instrumental music, stage works, numerous orchestral compositions, piano concertos, a concerto for piano and violin, and a chamber concerto. Beyond this, he wrote numerous other chamber works scored for various ensembles; but above all, he created an array of works for solo piano or two pianos, as well as piano pieces of pedagogical character. The artist was born on 24 December 1773 in Salzburg, where he began his musical education. In 1790, he left his hometown of Salzburg and, probably following in Wolfgang Amadeus Mozart’s footsteps, set out for Vienna. He did not remain there long, however, because in 1791, he was accepted for service to Prince Michał Kleofas Ogiński in Warsaw. The pianist-composer returned to Vienna probably ca 1795. He set out on his next conquest of European cities in 1799. This period of tours lasted until 1801. At this time he visited, among other cities, Prague, Leipzig, Berlin, Hamburg and Dresden. In 1801, he arrived in Paris, where he spent the next four years of his life. In 1805, he left the French capital and set out for London, where he remained until his death. He passed away on 21 May 1812. In his intensive artistic career, Joseph Woelfl devoted himself mainly to piano performance and composition; beyond this, he also engaged in pedagogical activity. His abundant artistic output is nearly forgotten today, so it is worthwhile to remind a broader audience of this distinguished figure.

6

„Concerto symphonique pour le piano” [op. 9] Teodora Leszetyckiego w kontekście warsztatu wirtuozowskiego kompozytora

58%

Bogula E.

Muzyka

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2020

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vol. 65

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issue 4

20-39

EN

Theodor Leschetizky (1830–1915), born in Łańcut, a pupil of Carl Czerny and Simon Sechter in Vienna, is known today primarily as an eminent piano teacher, but he began his musical career first and foremost as a pianist and composer. He notched up successes as a virtuoso, and his own music won critical acclaim. Like many other nineteenth-century pianists, Leschetizky wrote piano concertos, most likely with himself in mind as the performer of the solo parts. Analysis of Leschetizky’s early output and artistic activity, as described in press articles from the 1840s, 50s and 60s and in his early biographies (written during his lifetime), proves that he was successful both as a composer and a virtuoso. This article is devoted to Leschetizky’s one-movement Concerto symphonique pour le piano et l’orchestre in C minor, Op. 9, which he probably never performed, and to the autograph manuscript of this work, now held in the Library of Congress in Washington (US-Wc ML96.L4678 no. 1 Case). I investigate why this piece probably never entered the concert repertoire of its composer or any of his eminent pupils, and was only given its first performance in the twentieth century – in 1977, in the US.

PL

Teodor Leszetycki (1830–1915), urodzony w Łańcucie, wykształcony w Wiedniu pod kierunkiem Carla Czernego i Simona Sechtera, znany jest dzisiaj głównie jako wybitny pedagog fortepianu. Swoją muzyczną działalność rozpoczynał jednak przede wszystkim jako pianista oraz kompozytor. Osiągał sukcesy wirtuozowskie, a jego twórczość muzyczna zyskiwała uznanie krytyki. Podobnie jak wielu dziewiętnastowiecznych pianistów, Leszetycki sięgnął po gatunek koncertu fortepianowego i pragnął zapewne być wykonawcą solowych partii tego, jak i innych skomponowanych przez siebie utworów. Analiza wczesnej działalności artystycznej Leszetyckiego i jego młodzieńczego dorobku pozwala dowieść, że osiągał on sukcesy kompozytorskie i wirtuozowskie. Owe sukcesy kompozytora ilustrują artykuły prasowe z lat 40, 50, i 60-tych XIX wieku, a także pierwsze biografie twórcy spisane jeszcze za jego życia. W artykule zaprezentowane zostało jednoczęściowe dzieło Leszetyckiego, prawdopodobnie nigdy przez niego nie wykonany Concerto symphonique pour le piano et l’orchestre c-moll [op. 9] i autograf tejże kompozycji ze zbiorów Biblioteki Kongresu w Waszyngtonie (US-Wc ML96.L4678 no. 1 Case). Niniejsze rozważania prowadzą do odpowiedzi na pytanie dlaczego utwór prawdopodobnie nigdy nie trafił do repertuaru koncertowego samego twórcy lub kogoś z grona jego wybitnych uczniów, a jego premiera odbyła się dopiero w XXI wieku, tj. w 1977 r. w Stanach Zjednoczonych.

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2 Interdisciplinary Studies in Musicology

1 Kwartalnik Młodych Muzykologów UJ

1 Muzyka

1 Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe

1 Zeszyty Naukowe PUNO

2 Bogula E.

1 Jasińska D.

1 Lewandowska-Tarasiuk E.

1 Rіabinin A.

1 Tatarska J.

1 2023

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