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Franz Liszt i jego muzyka fortepianowa w ujęciu Jarosława Iwaszkiewicza oraz Pawła Kubisza

100%

Gamrat M.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

163-179

XX

Franz Liszt is one of the greatest artists of the 19th century. He has attended the most important artistic and social events providing comments on their literature and musical aspects. In his articles published in ‘Gazette Musicale’ (1835—1841) he treats the artist, their place in the society till in his correspondence he reflects the life condition of the workers. This social sensibility can be observed in Lyon (1837) in the cycle Impressions et poesies. The literature was one of his main interests. All his life he kept reading and commenting in his correspondence the works he had read and most importantly he tried to imple-ment it in his musical works. The result of these attempts was the creation of the pro-gram music, a music inspired very often by the literature or preceded by a literature piece. In my article I am presenting the music of Liszt that has inspired literature deeds. My research is directed towards two works — the novel entitled Mefisto-Walc by Jarosław Iwaszkiewicz and the poem by Paweł Kubisz entitled Rapsod o Oszeldzie. Both are very different. In the first work it is the music (Erster Mephisto-Walzer) one of the main actors, equal to the others, the composer is just mentioned. In the work of Kubisz, Liszt is a principle actor who inspires the struggle of the workers and leads towards liberty and his music occupies secondary place (Lyon, Mazeppa, Mephisto-Walz). Both the works have one common point — Franz Liszt and his music. They both also refer to Faust. Ein Gedicht of Nikolas Lenau that has preceded Erster Mephisto-Walzer. They both have not only a common musical intertext but also a literature intertext though the musical work, what I have called intertext of second degree. This is proof that Liszt was right that it is possible to implement the ideas in the music.PE

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Brahms i Rachmaninow Iwaszkiewicza

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Tenczyńska A.

Acta Universitatis Lodziensis. Folia Litteraria Polonica

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2012

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vol. 15

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issue 1

141-150

EN

The poetry of Jarosław Iwaszkiewicz includes various – and unique in the 20th century Polish literature – references to actual musical compositions. Johannes Brahms and Ser-gei Rachmaninoff are among the composers, whose pieces are most often present in this poetry. Close reading of chosen poems, which conduct intertextual and intersemiotic dialog with Brahms’ and Rachmaninoff’s compositions, allows one to distinguish vari-ous models of this dialog and its functions. It becomes possible – in the wider biograph-ical context – to ask about the meaning of German and Russian music to the writer and to the, often autobiographical, subjects of his poems. It leads also to the question of the relation between music and memory in Iwaszkiewicz’s poetry, based sometimes on a surprising counterpoint with respect to the sérénité motive. In the context of this rela-tion another motive seems to come to the fore, the motive of the lost world, to which, as the protagonist of Brzezina says, ‘I will never return, and which I have never truly expe-rienced’. 34

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MUZYCZNO-LITERACKIE INSPIRACJE POEZJĄ BRONISŁAWY WAJS W POEMACIE SYMFONICZNYM JANA KANTEGO PAWLUŚKIEWICZA PT. HARFY PAPUSZY

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Chacińska K.

Ars inter Culturas

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2015

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issue 4

175-186

EN

In the introduction, the author focuses on Roma themes and motifs that inspired various 19th century composers. A Roma poetess, Bronisława Wajs, or Papusza, is discussed as an artist creating spoken songs derived from the folk song tradition. Next, the essay provides an overview of contemporary musical works inspired by Bronisława Wajs’s oeuvre, specifically Jan Kanty-Pawluśkiewicz’s symphonic poem Harfy Papuszy. In addition, the author offers suggestions for the bel canto technique and folk styles of singing in stylized works resembling world music – Roma music, in particular.

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ŹRÓDŁA I UWARUNKOWANIA INSPIRACJI MUZYCZNEJ W TWÓRCZOŚCI DYMITRA SZOSTAKOWICZA I BENJAMINA BRITTENA

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Mikolon A.

Ars inter Culturas

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2015

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issue 4

141-160

EN

The content of this paper compares the biographies and creative achievements of Dmitri Shostakovich and Benjamin Britten. The comparison of their lives reveals similarities as far as their innate abilities are concerned, as well as obvious differences resulting from distinct educational paths and living conditions. The observations made in the essay testify to the importance and influence of family ties and strict musical education upon their lives.

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2 Acta Universitatis Lodziensis. Folia Litteraria Polonica

2 Ars inter Culturas

2 2015

2 2012

1 Chacińska K.

1 Gamrat M.

1 Mikolon A.

1 Tenczyńska A.

Franz Liszt i jego muzyka fortepianowa w ujęciu Jarosława Iwaszkiewicza oraz Pawła Kubisza

Brahms i Rachmaninow Iwaszkiewicza

MUZYCZNO-LITERACKIE INSPIRACJE POEZJĄ BRONISŁAWY WAJS W POEMACIE SYMFONICZNYM JANA KANTEGO PAWLUŚKIEWICZA PT. HARFY PAPUSZY

ŹRÓDŁA I UWARUNKOWANIA INSPIRACJI MUZYCZNEJ W TWÓRCZOŚCI DYMITRA SZOSTAKOWICZA I BENJAMINA BRITTENA