Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  CHAMBER MUSIC
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

CELLO TRANSCRIPTIONS OF WORKS BY FREDERIC CHOPIN. SELECTED ASPECTS

100%
Gajewska B.
Muzyka
|
2007
|
vol. 52
|
issue 1(204)
29-49
EN
The practice of making use of existing compositions is not new, but in spite of this it has not so far received detailed analysis. The terminology used in the Polish language in describing the phenomenon of transcription of a musical work does not provide a consistent framework either. The volume of transcriptions of the works of Chopin, which can be counted in thousands, gives one good reason for reflecting on and investigating the nature of this phenomenon. The fragments selected and discussed in the text come from Etude in C sharp-minor op. 25 no. 7, Prelude in E-minor op. 28 no. 4 and Mazurka in a-minor op. 67 no 4. The majority of cello transcriptions, in spite of the change in the performance instrument, does not require changes in the text. It is very probable that Chopin was familiar with the issues involved in the technique of cello-playing, and an analysis of his cello compositions reveals an evolution in the conscious application of increasingly sophisticated technical devices (e.g. use of the thumb and the positions based on it, use of double or triple notes or jumps of greater ambitus). In turn, it is not difficult to find the timbre of the cello in his piano compositions, in particular those in minor modes and of nocturnal character. Amazingly, in many transcriptions of Chopin's works for the cello, the melodic line allows a free arrangement of the cellist's left hand, as if the composition was intended for that instrument. The changes of the bow in the transcriptions of Chopin's works often correspond to the length of consecutive phrases in his original compositions. This confirms the composer's desire to make the instrument 'sing' during playing.
2

THE CONCERT LIFE IN LWÓW IN 1790-1830 (Zycie koncertowe Lwowa w latach 1790-1830)

61%
Piekarski M.
Przegląd Muzykologiczny
|
2011
|
issue 8
93-114
EN
Lwów, previously one of the biggest and oldest Polish cities (now, after the Second World War, in the Ukraine), was in 1790-1830 an important musical centre. Its cultural core was a city theatre where numerous symphonic concerts took place as well as other dramatic performances. Music was also performed in some private houses and in churches. Since 1773 Lwów, as a city in that part of Poland which was annexed in 1772 by the Austro-Hungarian Empire (the first partition of Poland), became the capital of Galizia and Lodomeria, and was influenced by Vienna, the then musical capital of Europe. This was possible thanks to newly arrived citizens (mostly Austrian and Czech) who were coming to Lwów from various places in the Habsburg Empire and who then co-operated with the Poles and Russians. What was particularly close to the Viennese tradition were the oratorio concerts that engaged many musicians, both professionals and a growing number of amateurs. After the fashion of the Austrian capital, musical soirées were also organised in Lwów, where chamber works were played. The specific feature of Lwów was the multi-national character of its musical environment. In spite of the peripheral position of this city within the Habsburg empire, the musical life in Lwów was not provincial, which is proved by the presence of first-rate European musicians.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.