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1

Z problematyki recepcji twórczości Giovanniego Battisty Bassaniego. Charakterystyka utworów kompozytora zachowanych w zbiorze muzykaliów po grodziskiej kapeli parafialnej1

100%
Majewska K.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35)
39-62
EN
The work concerns Giovanni Battista Bassani’s output and its reception with particular emphasis on manuscripts preserved in a collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount until today—there are 441 manuscripts and 67 prints preserved in 287 copies. The article consists of two parts. The first chapter presents a list of the works written by the composer that was created using the RISM database with special attention of Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.
2

Giovanni Battista Bassani—Reception of the Output and Characteristic of the Compositions Preserved in the Musical Collection of Grodzisk Parish Chapel

86%
Majewska K.
Kwartalnik Młodych Muzykologów UJ
|
2017
|
issue 4(35) Eng
38-62
EN
The work concerns Giovanni Battista Bassani’s output and its reception with particular emphasis on manuscripts preserved in a collection from parish church in Grodzisk Wielkopolski. The oeuvre of this composer has been preserved to a huge amount until today—there are 441 manuscripts and 67 prints preserved in 287 copies. The article consists of two parts. The first chapter presents a list of the works written by the composer that was created using the RISM database with special attention of Polish sources. In addition, a list of sources identified as the transmission of Bassani’s output is presented. The second part of the article characterises the composer’s works preserved in the collection from parish church in Grodzisk Wielkopolski.
3

Dammed, or Adored Music? Reception of Pop-Folk Music in Czech-Austrian Cultural Contacts in the Early 1990s

86%
Daniel O.
Národopisná revue (Journal of Ethnology)
|
2023
|
vol. 33
|
issue 3
167 -176
EN
The primary objective of this article is cultural-historical interpretation of the social impact of the production of musical genres on the borderline between folk and popular music. The investigation aims to illuminate the reception and cultural significance of these musical hybrids in the Czech context, with a particular focus on their cross-border interaction with Austria. The study examines intersections of age, socioeconomic status, ethnicity and gender, associated with the preferences for musical genres on the borderline between folk and popular music in Austria and the Czech lands in the 1990s, meaning a period characterized by an abrupt and intensified integration of global cultural influences. Relying predominantly on empirical evidence and the current state of expert knowledge, the research identifies several contextual and model roles in which this music may have served as a divisive or unifying factor. The identification of the intersections between the consumption, production and circulation of pop-folk music is discussed here in three aspects: age, class, and geography
4
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Recepcja poematów symfonicznych „Nevermore” i „Ulalume” Eugeniusza Morawskiego w prasie polskiej w latach 1924–1949

58%
Łapeta O.
Muzyka
|
2020
|
vol. 65
|
issue 4
105-127
EN
I discuss the reception of Eugeniusz Morawski’s two surviving symphonic poems inspired by the writings of Edgar Allan Poe, Nevermore and Ulalume. The former was performed in Poland at least nine times in the years 1924–1938, while the latter was presented at least four times between 1925 and 1949. In later years, performances of works by this composer were extremely rare, owing to the poor accessibility of the scores and the composer’s ill repute related to his pre-war conflicts with Karol Szymanowski. In their time, however, both compositions were performed under such leading conductors as Grzegorz Fitelberg, Emil Młynarski, Jascha Horenstein and Walerian Bierdiajew. They attracted much critical interest and earned Morawski a reputation as one of the most interesting active composers. They were praised for their expressive power, brilliant orchestration and uncanny mood, suggestively and vividly conveying the essence of their literary models. The occasional critical remarks concerned their stylistic indebtedness to Richard Wagner and Richard Strauss, and the fact that Morawski had embraced the medium of programme music.
PL
Przedmiotem rozważań jest recepcja dwóch zachowanych poematów symfonicznych Eugeniusza Morawskiego inspirowanych dziełami Edgara Allana Poego – Nevermore i Ulalume. Pierwszy z tych utworów wykonany został w Polsce w latach 1924–1938 co najmniej dziewięć razy, natomiast drugi był w latach 1925–1949 prezentowany co najmniej czterokrotnie. Późniejsze wykonania dzieł tego kompozytora były bardzo rzadkie, a powodem była słaba dostępność partytur i zła sława otaczająca nazwisko Morawskiego ze względu na jego przedwojenne konflikty z Karolem Szymanowskim. Oba dzieła były prezentowane pod batutą czołowych dyrygentów owych lat, m.in. Grzegorza Fitelberga, Emila Młynarskiego, Jaschy Horensteina czy Waleriana Bierdiajewa. Budziły duże zainteresowanie krytyków, którzy na ich podstawie uważali Morawskiego za jednego z najbardziej interesujących kompozytorów działających w owych latach. Chwalono je za siłę ekspresji, błyskotliwą orkiestrację i pełen niesamowitości nastrój, w sugestywny i plastyczny sposób oddający istotę ich literackich pierwowzorów. Okazjonalnie wysuwane zarzuty dotyczyły zależności stylistycznych od twórczości Richarda Wagnera i Richarda Straussa czy faktu korzystania przez kompozytora z medium programowości.
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