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Kategorie czasu i formy muzycznej w II Koncercie na wiolonczelę i orkiestrę symfoniczną Pawła Mykietyna

100%
Kaszubska N.
Kwartalnik Młodych Muzykologów UJ
|
2022
|
issue 3(54)
19-41
EN
The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based on the score of the 2nd Concerto for Cello and Symphony Orchestra, published in 2019 by the PWM Edition in Kraków. The structure of the paper includes: introduction, three paragraphs and a summary. The characteristics of Paweł Mykietyn’s work contained in the introduction will allow the reader to become familiar with stylistic tendencies at various stages of the composer's work. The section devoted to the genesis and reception aims to present the history of the creation of the analysed work, as well as its contexts and resonance. The analytical sketch in the context of the issues of time and form will allow to present selected aspects of the compositional technique.
2

Więcej niż tło. Muzyka Pawła Mykietyna w teatrze Krzysztofa Warlikowskiego1

100%
Rudnicka J.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 3(42)
119–140
EN
The article is devoted to the role and functions of Paweł Mykietyn’s music in the theatre of Krzysztof Warlikowski. The modified version of music classification in the theatre proposed by Patrice Pavis serves as a starting point for the considerations. Providing the examples of certain performances, I describe each function as well as the characteristics of Paweł Mykietyn’s theatrical music. It turns out that in the case of Warlikowski’s theatre one cannot see music as an addition – music is an inseparable element in the process of establishing the meanings in each staging.
3

Integration Attempts Paweł Mykietyn and the Composer’s Self-Reflection

88%
Gmys M.
Musicology Today
|
2015
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vol. 12
|
issue 1
51-62
EN
In this paper, the author attempts to reconstruct the aesthetic views of Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews with the composer, focusing on his ideas regarding musical and nonmusical inspirations, the significance of mathematical procedures in the compositional process, traditional musical forms, the role of quotations and self-quotations, experimentation with microtones and musical time, as well as the concept of music as autobiography.
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„Zmyślnie wykoncypowana, postmodernistyczna zabawka”. Muzyka Pawła Mykietyna wobec kategorii postmodernizmu i konstruktywizmu na przykładzie III Symfonii na alt i orkiestrę1

88%
Daniec Z.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39)
55-78
EN
Works of Paweł Mykietyn belong to the most characteristic trends of Polish contemporary music. His compositional attitude was individualised in the first decade of the 21st century, and today he is recognised as one of the most original Polish composers of the 20th and 21st centuries. Andrzej Chłopecki, when characterizing Mykietyn’s music after the premiere of the composer’s II Symphony, compared this work to a “cleverly devised, postmodern toy”. Also Mykietyn’s next, III Symphony (2011), can be considered in the context of the categories of postmodernism and constructivism. This work manifests the postmodern attitude, but it is also marked by strict, “cleverly devised”, constructivist thinking. Its musical language contains intertextual references to hip-hop and rap music; on the other hand, it includes such typical for Mykietyn measures as “(de)gradation form”, “accelerando form”, “permanent accelerando” and dodecaphony, which can be found while analysing the work. III Symphony can be also interpreted in relation to techniques of deconstruction, including both concept and structure of the composition.
5

“Cleverly Devised, Postmodern Toy”: Paweł Mykietyn’s Music in the Category of Postmodernism and Constructivism on the Example of III Symphony for Alto and Orchestra1

88%
Daniec Z.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 4(39) Eng
59-85
EN
Works of Paweł Mykietyn belong to the most characteristic trends of Polish contemporary music. His compositional attitude was individualised in the first decade of the 21st century, and today he is recognised as one of the most original Polish composers of the 20th and 21st centuries. Andrzej Chłopecki, when characterising Mykietyn’s music after the premiere of the composer’s II Symphony, compared this work to a “cleverly devised, postmodern toy”. Also Mykietyn’s next, III Symphony (2011), can be considered in the context of the categories of postmodernism and constructivism. This work manifests the postmodern attitude, but it is also marked by strict, “cleverly devised”, constructivist thinking. Its musical language contains intertextual references to hip-hop and rap music; on the other hand, it includes such typical for Mykietyn measures as “(de)gradation form”, “accelerando form”, “permanent accelerando” and dodecaphony, which can be found while analysing the work. III Symphony can be also interpreted in relation to techniques of deconstruction, including both concept and structure of the composition.
6

Sonnet VIII by William Shakespeare in Songs of Kabalevsky, Stravinsky and Mykietyn

88%
Dąbek K.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 2(33) Eng
77-99
EN
Sonnet VIII Music to hear by William Shakespeare belongs to socalled “procreation sonnets”, where the poet insists on a young man to get married and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last stanza which does not serve anymore as a protective advice, but as a warning. The syndrome of Sonnet VIII, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoric and erotic ambivalence. The poem has found its musical interpretations in the output of the 20 th-century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expressively distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of relations between text and music. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoricof the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn (circle canon) analogies to an intellectual game and a net of complex literary metaphors in the poem can be found.
7

Sonet VIII Williama Szekspira w pieśniach Dymitra Kabalewskiego, Igora Strawińskiego i Pawła Mykietyna

88%
Dąbek K.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 2(33)
77-100
EN
The 8th Sonnet Music to hear by William Shakespeare belongs to socalled „procreation sonnets”, where the poet insists on a young man to marry and have children. It should grant immortality to him and his youthful beauty to the world. The poem, written in iambic pentameter, reveals the structure of an Elizabethan sonnet. The main emphasis is laid on the last strophe, which does not serve anymore as a protective advice, but as a warning. The syndrome of the 8th Sonnet, understood after Mieczysław Tomaszewski as a “group of constitutive features” is formed here by the following categories: musicality, metaphorism, oxymoronity, rhetoricity and erotic ambivalence. The poem has found its musical interpretations in the output of the 20th century composers: Dmitry Kabalevsky, Igor Stravinsky and Paweł Mykietyn. All songs are both musically and expression wise distant from each other, nevertheless each of them reflects an element of the Sonnet’s character. Metaphorism and oxymoronity appear in music of every composer in a very individualized way, which is proved by the analysis of word-tone relations. The sphere of erotic ambivalence is present only in Mykietyn’s song, intended for a male soprano. In a lyrical song by Kabalevsky the musicality and rhetoricity of the poem are especially underlined. In a constructivist approach of Stravinsky (dodecaphony) and Mykietyn (circle canon) analogies to an intellectual game and a net of complex literary metaphors in the poem can be found. (tłum. Iwona Sowińska-Fruhtrunk)
8
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Berghof na operowej scenie. Strategie adaptacyjne w „Czarodziejskiej Górze” Pawła Mykietyna do libretta Małgorzaty Sikorskiej-Miszczuk

71%
Nowicka-Ciecierska M.
Muzyka
|
2021
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vol. 66
|
issue 4
96-113
EN
This article explores how Thomas Mann’s novel The Magic Mountain was adapted for Paweł Mykietyn’s opera to a libretto by Małgorzata Sikorska-Miszczuk. Since a libretto’s primary function is to convey content, most attention has been devoted to that aspect of the opera, but the musical elements which complement the verbal content in a significant manner are also pointed out. Written in metaphorical language, the opera’s text is based on short, condensed scenes of a fragmentary nature, which is evident in allusions to the novel filtered through the librettist’s vision. One characteristic element of this libretto consists of questions that form the basis for the dialogues between the protagonists. The text represents a striking reduction of Mann’s novel, which served merely as a source of inspiration. The authors of the concept behind the libretto (Małgorzata Sikorska-Miszczuk and Andrzej Chyra) were motivated by a desire to expand some of the themes not developed in Mann’s original, and thus to create an apocryphal version of the novel, bringing out elements which remained unclear, but without the need to strictly represent the course of the narrative. By bringing existential problems to the fore, the librettists shifted the focus and centre of gravity to the protagonists’ feelings and emotional states, while the political and social strands present in Mann’s novel were passed over entirely. According to Eugenio Spedicato’s typology of intermedial translation, the librettists applied, apart from a reduction of the novel, such techniques as condensation, diffusion and amplification. Despite the radical reduction of the one-thousand-page novel to a poetical text of about thirty pages, the libretto also preserves some degree of ‘sameness’ by transplanting the novel’s main characters to the opera, and retaining the main axis of the plot and the relations between its protagonists. Elements of operatic amplification include the character of the American woman, the symbolic figure of death in the form of an anaconda, the expanded love scenes, and references to the codes of contemporary pop culture. The composer’s modern approach to writing an opera made the work more illustrative, not only on the musical level; concrete sounds also largely supplement the text of the libretto. Those two layers are essential bearers of content.
PL
Celem artykułu jest odpowiedź na pytanie, w jaki sposób powieść Thomasa Mann pt. Czarodziejska góra została zaadaptowana na dzieło operowe Pawła Mykietyna z librettem Małgorzaty Sikorskiej-Miszczuk. Ze względu na prymarną funkcję libretta, jaką jest przekazywanie treści, temu elementowi poświęcono najwięcej uwagi, w artykule wskazane zostały jednak również elementy dźwiękowe opery, które w znaczący sposób dopełniają treść słowną. Tekst napisany jest metaforycznym językiem, opiera się na krótkich scenach, w których widoczna jest duża kondensacja treści i fragmentaryczność zauważalna w aluzjach do powieści przefiltrowanych przez wizję autorki. Znamienną cechą tworzywa libretta są pytania, na których opierają się partie dialogowe bohaterów. W libretcie uderza redukcja powieści Manna – mamy do czynienia z tekstem, dla którego powieść była tylko źródłem inspiracji. Autorom koncepcji libretta (Małgorzata Sikorska-Miszczuk i Andrzej Chyra) przyświecała idea, by dopowiedzieć pewne wątki przez Manna nierozwinięte, stworzyć powieściowy apokryf, wydobywający z pierwowzoru to, co niejasne – bez konieczności ścisłego ilustrowania przebiegu narracji. Stawiając na pierwszym planie problemy egzystencjalne, punktem ciężkości i osnową libretta uczyniono uczucia i stany emocjonalne bohaterów, a zupełnie odsunięto wątki polityczne i społeczne obecne u Manna. Między powieścią Manna a librettem dokonano według typologii przekładu intermedialnego Eugenia Spedicato obok redukcji operacji kondensacji, dyfuzji i amplifikacji. Mimo ogromnej redukcji tysiącstronicowej powieści do poetyckiego tekstu liczącego około trzydziestu stron w libretcie Czarodziejskiej góry mamy do czynienia także z operacją zrównania na kilku poziomach: przeniesienia do opery głównych bohaterów powieści, zachowania osi fabuły oraz relacji między bohaterami. Operową amplifikację stanowi między innymi postać Amerykanki, figura-symbol śmierci pod postacią anakondy, rozwinięcie scen miłosnych, odwołania do współczesnych kodów popkulturowych. Nowoczesne podejście kompozytora do dzieła operowego pozwoliło uzyskać większą ilustracyjność – nie tylko poprzez muzykę, ale i dźwięki konkretne w znacznym stopniu dopełnić tekst libretta, obie te warstwy stanowią istotne nośniki treści.
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