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  1. 4 Kwartalnik Młodych Muzykologów UJ

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  1. 4 Różańska R.

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  1. 3 2014

  2. 1 2013

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1
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Nieodkryte silva rerum. Francuskie druki muzyczne z XVII i XVIII stulecia w zbiorach Biblioteki Czartoryskich

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Różańska R.
Kwartalnik Młodych Muzykologów UJ
|
2014
|
issue 4(23)
46-66
EN
The article is a contribution to the musical life of the Polish aristocracy in the 17th and 18th centuries on example of French musical prints kept in The Princes Czartoryski Library in Cracow (Biblioteka Książąt Czartoryskich). The Library is very famous for their historical resources, yet the music collection remains scientifically unexplored: the only access to the content is a card catalog. Among roughly fifteen hundred musical prints and manuscripts stands out a very unique group of 45 French prints, associated with the repertoire of the court in Versailles. The text presents a brief description of these resources divided into three groups in terms of genre, depicted in the tables in the annex. The printings is presented chronologically in three separate categories, which reflect both the importance of the authors and the number of prints. Hence, the first category consists of prints of Jean-Baptiste Lully’s works (which are four, among others’ second editions of Thesée and Armide), the next category includes the works of Charles Simon Favart (five librettos and thirteen stage works), and finally the last category collects single prints of composers worked for Versailles in the 17th and 18th centuries.
2
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Wilk w owczej skórze? Bohaterowie lub/i nikczemnicy obojga płci w operach G.F. Händla na przykładzie postaci Kserksesa, Polinessa, Grimoalda, Alciny i Tolomea

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Różańska R.
Kwartalnik Młodych Muzykologów UJ
|
2014
|
issue 2(21)
46-97
EN
The article is dedicated to hidden meaning in musical arrangement of the operatic arias by George Frideric Handel. The main goal of this text is to redefine the true nature of villains heroes in Handel's operas. The analysis contains examples of five works: Giulio Cesare in Egitto (HWV 17), Rodelinda (HWV 19), Ariodante (HWV 33), Alcina (HWV 34) and Xerxes (HWV 40) upon which examination of traditional role of rascals (which are Tolomeo, Grimoaldo, Polinesso, Alcina and Xerxes) reveals their secret keeping positive aspects. The composer changed the original meaning of the libretti by using compositional techniques traditionally linked with positive heroes. In addition the comparison of listed works allows to assess to what extent the strict categories form a opera seria type were modified by Handel and shapes new questions for further examination.
3
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Technika parodii w Mszy Doctor Bonus Giovanniego Francesca Aneria

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Różańska R.
Kwartalnik Młodych Muzykologów UJ
|
2013
|
issue 9(19)
1-34
EN
The main topic of the article is the analysis of the parody technique in the Mass Doctor bonus by Giovanni Francesco Anerio. The text consists of two parts: a historical presentation of the artist’s biography and an analytical study. The first part presents the composer’s life and musical achievements as well as the state of research on the history of the genre, while the second part describes the rules of the parody technique, in the light of treatises of the era, in comparison with equally entitled Palestrina’s motet. The parody technique allows Anerio to quote both entire polyphonic structures and single melodic lines. However, despite the strong convergence essential for the procedure of parody, the composer was able to present their own solutions while adhering to the rules of classical counterpoint and the style of his famous Roman predecessor. Thus, the piece is entirely based on Palestrina’s ideas, such as interweaving phrases with the equality of votes, shaping of phrases or use of intervals with Anerio’s own texture very alike. Therefore, the Mass, based on the perception of parody in the late Renaissance era, should be assessed as a perfect musical work.
4
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Wokół opery Giulio Cesare in Egitto (HWV 17) G.F. Handla. Kontekst historyczny i struktura dzieła. Maestria partii solowych bohaterów pierwszoplanowych – pomiędzy neapolitańskim przepychem a późnobarokowym dążeniem do dramatyzmu

100%
Różańska R.
Kwartalnik Młodych Muzykologów UJ
|
2014
|
issue 1(20)
20-46
EN
The article is dedicated to virtuosity of vocal arias in Giulio Cesare in Egitto by George Frideric Handel. The main goal of this text is to examine the form of the opera and the role of an artistic expression in the arias. This paper presents the overall situation of Italian opera in Britain in the eighteenth century and justifies the position of G.F. Handel as a leading composer of that period. The text shows fiction and reality in libretto by N.F. Haym (a comparison of the real history of Caesar and Cleopatra with the opera, by means of juxtaposition of historical works and translations of sources from ancient Rome known in the British Isles in the early eighteenth century).
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