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

Results found: 7

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  violin
help Sort By:

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

Apolinary Kątski as an Infant Prodigy

100%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 1(36) Eng
53-76
EN
Infant prodigies were a common phenomenon in the 19th century. They astonished the audience not only through their impressive abilities, but also the innocent beauty and the youthful grace. The perfect example of this is Apolinary Kątski (1826–1879), a violin virtuoso and a composer, known mainly as the founder of the Institute of Music in Warsaw, who, since he was three, was recognizable in concert halls all over Europe. According to the author, the early stage of the violinist’s activity requires more attention. The presented article sketches the path of young Apolinary’s life from the moment of his first performance in 1829 to May 1838, when he was granted with the famous recommendation of Niccolò Paganini. It introduced him to numerous concert halls of Europe and positively influenced his further artistic activity. The hereby presented paper makes an attempt to find out the date and place of birth of Kątski in the context of the rich musical activity of his family members. It also shows the first artistic tours of the young virtuoso against the background of his artistically talented siblings: a violinist Karol, pianists Stanisław and Antoni, and a singer Eugenia. The crucial moment are reflections on the stay of the family in Paris and their first performances in the musical centre of Europe as well as contacts of the young violinist with Niccolò Paganini. The studies on the correspondence of the father of the virtuoso, Grzegorz Kątski, and research on the foreign newspapers let the author reconstruct the life of Apolinary Kątski in the very first stage of his musical activity and place him in the context of infant prodigies of the 18th and 19th centuries.
2

Apolinary Kątski jako cudowne dziecko

100%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 1(36)
53-74
EN
Infant prodigies were a common phenomenon in the 19th century. They astonished the audience not only through their impressive abilities, but also the innocent beauty and the youthful grace. The perfect example of this is Apolinary Kątski (1826–1879), a violin virtuoso and a composer, known mainly as the founder of the Institute of Music in Warsaw, who, since he was three, was recognizable in concert halls all over Europe. According to the author, the early stage of the violinist’s activity requires more attention. The presented article sketches the path of young Apolinary’s life from the moment of his first performance in 1829 to May 1838, when he was granted with the famous recommendation of Niccolò Paganini. It introduced him to numerous concert halls of Europe and positively influenced his further artistic activity. The hereby presented paper makes an attempt to find out the date and place of birth of Kątski in the context of the rich musical activity of his family members. It also shows the first artistic tours of the young virtuoso against the background of his artistically talented siblings: a violinist Karol, pianists Stanisław and Antoni, and a singer Eugenia. The crucial moment are reflections on the stay of the family in Paris and their first performances in the musical centre of Europe as well as contacts of the young violinist with Niccolò Paganini. The studies on the correspondence of the father of the virtuoso, Grzegorz Kątski, and research on the foreign newspapers let the author reconstruct the life of Apolinary Kątski in the very first stage of his musical activity and place him in the context of infant prodigies of the 18th and 19th centuries.
3

Londyński epizod Apolinarego Kątskiego (1838)

86%
Chamczyk E.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 1(40)
5-25
EN
The early artistic career of Apolinary Kątski (1824–1879) was that of an infant prodigy – one of the Wunderkinder who (especially in the 19th century) dazzled audiences with their exceptionally well-developed abilities. The Polish virtuoso, unlike many prodigies, did not disappoint the hopes placed in him, going down in history as a distinguished violinist, as well as the founder and longtime director of the Institute of Music in Warsaw. In the author’s opinion, the violinist’s early career requires more thorough discussion. The present article outlines the fortunes of the young Apolinary Kątski in the second half of 1838 – so, directly after his meeting with Niccolò Paganini. This event represented a certain turning point in the development of Kątski’s career. The letter – a peculiar sort of recommendation – drawn up by the Italian virtuoso to rate the young violinist’s playing opened the doors for him to many of Europe’s concert halls and had a favourable effect on his later artistic career. Kątski had the opportunity to see for himself the power of Paganini’s words during his first trip to London, the primary aim of which was to perform before the British Queen, Victoria. The present article describes Kątski’s activities in preparation for this event. It takes up the thread of the reception of the young Kątski’s first performances in the capital of England, as well as his reception by the Polish community resident in London. Beyond this, it discusses the relationship of the Kątski family with journalist and émigré activist Leonard Niedźwiecki, who served as their guide in the salons of the city upon the Thames. Studies of the correspondence of Leonard Niedźwiecki (with, among others, Eustachy Januszkiewicz, who was active in the Polish émigré community in Paris), as well as preliminary research of the foreign press, have permitted us to recreate Apolinary Kątski’s experiences during his first independent artistic journey to London.
4
Publication available in full text mode
Content available

Do zagadnienia „niemych skrzypiec”

72%
Kołt M.
Muzyka
|
2019
|
vol. 64
|
issue 2
125-140
EN
The history of music instruments is co-created not only by their ‘classic’ varieties used in everyday music practice, but also by experimental instruments built as a result of exploring new types of construction and sound. A separate group is made up of special training instruments that develop the hand technique. Thanks to their quiet sound, they could be played without disturbing the neighbours. This paper is dedicated to the so-called ‘mute violin’, a model member of this category. Contrary to the name, it produces audible though quiet sounds, which makes it possible to practise not just fingering technique, but also correct intonation. I discuss the numerous types of construction applied in different violin making centres. The ‘mute violin’ attracted relatively little interest in musicians, and the popularisation of violin mutes limited the use of this special instrument.
PL
Historię instrumentów muzycznych tworzą nie tylko ich „klasyczne” rodzaje wykorzystywane w podstawowej praktyce muzycznej, lecz także instrumenty eksperymentalne powstające w wyniku poszukiwań nowych konstrukcji, nowych brzmień. Osobną grupę stanowią także specjalne instrumenty do ćwiczeń, służące rozwojowi techniki manualnej, na których, dzięki ich cichemu brzmieniu, można było grać nie przeszkadzając otoczeniu. Należą do nich przede wszystkim tzw. „nieme skrzypce”, którym poświęcony jest niniejszy artykuł. Wbrew nazwie nie są one „nieme”, można na nich uzyskać słyszalne, chociaż ciche dźwięki, co pozwala na ćwiczenie nie tylko techniki palcowania, ale też poprawnej intonacji. Tekst ten poświęcony jest wielości rozwiązań konstrukcyjnych, jakie rozwinęły się w różnych ośrodkach lutniczych wytwarzających ten instrument. „Nieme skrzypce” cieszyły się stosunkowo niedużym zainteresowaniem muzyków, a używanie tego instrumentu ograniczyło rozpowszechnienie skrzypcowych tłumików.
5
Publication available in full text mode
Content available

Utwór lutniczy w przedmiocie praw autorskich

58%
Jasińska E.
Przegląd Ustawodawstwa Gospodarczego
|
2019
|
issue 3
93-100
EN
The presented work is devoted to highly problematic and controversial position of violin (string musical instruments) works in Act No. 24 of February 4, 1994, on Copyright and Neighboring Rights. In the following parts of the work the distinctness of violin work were discussed and defined. Furthermore, the construction and the artistry of varnishing was also discussed and presented on the example of violins. Then, the features of an instrument defined as a subject of copyright were presented. The most comprehensive part of the work concentrates on the research conducted in a form a questionnaire among the artists-violin makers. The presented work also raises an issue of conservation and reparation of violin work. The aim of this article is to extend legal knowledge about violin work and to open a discourse for further deliberation about an actual expansion of work protection of the artists-violin makers.
PL
Prezentowana praca porusza problematyczną i kontrowersyjną pozycję utworów lutniczych w Ustawie o prawie autorskim i prawach pokrewnych z dnia 4 lutego 1994 (nr 24). W kolejnych częściach pracy omówiono: odrębność dzieła lutniczego wśród innych kategorii utworów, zdefiniowano dzieło lutnicze, omówiono budowę oraz kunszt lakierowania instrumentów na przykładzie skrzypiec oraz przedstawiono cechy instrumentu, które definiują go jako przedmiot prawa autorskiego. Najszerszą część poświęcono przeprowadzonym badaniom ankietowym wśród Artystów Lutników. W pracy uwzględniono również istotę konserwacji i naprawy dzieła lutniczego. Założeniem artykułu jest poszerzenie wiedzy prawniczej o dziele lutniczym i otwarciem dyskursu dla dalszych rozważań nad faktycznym poszerzeniem i egzekwowaniem ochrony pracy Artystów Lutników.
6
Publication available in full text mode
Content available

O skrzypcach oraz ich muzyce w wierszu do „artysty zapomnianego” - Do Nikodema Biernackiego

51%
Łuczak B.
Studia Norwidiana
|
2013
|
vol. 31
91-116
EN
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
7

O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego

51%
Łuczak B.
Studia Norwidiana
|
2013
|
vol. 31
91-116
XX
The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.
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.