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1

Komandor w operze. Konteksty

100%

Jęcz J.

Kwartalnik Młodych Muzykologów UJ

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2018

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issue 4(39)

21-38

EN

The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags the rogue to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.

2

Commander in Opera: Contexts

100%

Jęcz J.

Kwartalnik Młodych Muzykologów UJ

|

2018

|

issue 4(39) Eng

21-39

EN

The aim of this article is to analyse the presence of Commander in Mozart’s Don Giovanni as well as show the references to other opera depictions regarding the myth of Don Juan. Commander, also known as the Stone Guest, is an animate tombstone figure, which appears in every classic-based version of the story about Don Juan Tenorio (Don Giovanni) in order to summon a rogue to conversion; when he fails to do so, he drags him to hell. The spectacular character of the final scene turned out to serve as an inspiration for numerous opera makers, from Mozart to Rimsky-Korsakov (Mozart and Salieri). This theme, which has not been the subject of research before, is definitely worth exploring.

3

Portrety Hrabiny Rozyny w tłumaczeniu. Kilka uwag o „Porgi, amor” i „Dove sono i bei momenti” Wolfganga Amadeusa Mozarta, Lorenza Da Pontego i Stanisława Barańczaka

94%

Reimann-Czajkowska A.

Pamiętnik Literacki

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2023

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vol. 114

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issue 1

217-228

PL

Przedmiotem artykułu jest problematyka przekładu wokalnego. Zdaniem Stanisława Barańczaka tłumaczenie tekstu przeznaczonego do śpiewu wymaga największej maestrii językowej, a jednocześnie jest obwarowane wieloma zasadami i regułami. Nawet najmniejsze odstępstwa strukturalno-semantyczne przekładu w stosunku do oryginału mają konsekwencje w konfrontacji z muzyką. Tłumaczenia wokalne Barańczaka są traktowane jako fenomen osobny, a jednocześnie jako interpretacyjne wyzwanie nie tylko dla wykonawcy, ale przede wszystkim dla badacza pogranicza muzyki i literatury. Z przeprowadzonych analiz pieśni hrabiny Almavivy wynika, że Rozyna w tłumaczeniu i oryginale to dwie różne bohaterki. Barańczak kreuje postać, która nie funkcjonuje konkurencyjnie wobec pierwowzoru, lecz komplementarnie, w nowym, intermedialnym sposobie odbioru.

EN

Problems of vocal translations are made subject of the paper. Following Stanisław Barańczak, translation text for singing consists in the greatest language mastery and also is constrained by a number of rules and regulations. Even the smallest structural-semantic deviation from the original may lead to consequences when confronted with music. Barańczak’s vocal translations are seen as a separate phenomenon, and also as an interpretive challenge not only for the performer, but first and foremost for music-literature borderline researcher. An analysis of Countess Almaviva’s songs reveals that Rosina in the original and in the translation are different characters. Barańczak creates a figure that is not conflicting to its prototype, but functions complementarily in a new intermedial reception mode.

4

New findings on the early reception of Mozart’s opera La clemenza di Tito

94%

Jonášová M., Stephens P.

Hudební věda (Musicology)

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2021

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vol. 58

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issue 2

176-210

EN

Within the framework of Rezeptionsforschung, which focuses on examining the ways and means by which individual operas established themselves in the consciousness of the cultural public, the two operas Mozart composed for Prague offer a broad source base, which is also made use of by the Neue Mozart Ausgabe. The study provides an overview of these new insights into contemporary copies of the opera La clemenza di Tito made in Prague, which are preserved today in Berlin, London, Salzburg, Vienna, and Zürich. The process of deciphering the nature of the reception of La clemenza di Tito was made more difficult by the fact that the autograph score does not contain the secco recitatives. In the category of important sources with a Bohemian provenance the editor of the Neue Mozart Ausgabe, Franz Giegling, thought particularly highly of the Lobkowicz score (Source C). The partial involvement of Prague copyists has also been identified in the score from the estate of Carl Thomas Mozart (Source C1) and in the score today in the archive of the Gesellschaft der Musikfreunde in Vienna (Source G). The copyist of the Berlin score copy has been identified as the Prague organist of the Metropolitan Cathedral of St. Vitus, Johann Nepomuk Wenzel, who met Mozart personally in Vienna. The copying workshop with the most extensive output of score copies belonged to the double bass player in the Prague Opera orchestra, Anton Grams. The Tito score produced by copyists of Grams’ workshop, where it even fulfilled the function of a Vorlagekopie, and now in the estate of the double bass player Domenico Dragonetti in the British Library in London, was not given sufficient importance in the NMA (Source H). It is a copy close to the autograph score and also contains a German translation of the libretto, which Grams later inserted himself. This translation of the text of the opera, used in Prague, was hitherto unknown, because no printed version of a German libretto has been preserved, and confirms the early performance of Tito in a Singspiel version in Prague. Prague copies of the Tito score were also of importance for its first printed version (Breitkopf & Härtel in 1809). In fact, this version contains several deviations from the autograph score which it has in common with the London score. This London score should be considered as the starting point of the entire Prague copyist tradition surrounding this Mozart opera.

CS

V rámci současného Rezeptionsforschung, jež se soustředí na zkoumání způsobů a cest, jimiž jednotlivé opery pronikaly do povědomí kulturní veřejnosti, nabízejí obě pro Prahu komponované Mozartovy opery širokou pramennou základnu, z níž těží i Neue Mozart Ausgabe. Publikovaná studie předkládá soubor nových poznatků o dobových pražských opisech opery La clemenza di Tito, které jsou dnes uchovávány v Berlíně, Londýně, Salcburku, Vídni a Curychu. Většina z nich vznikla v opisovačské dílně kontrabasisty orchestru pražské opery Antona Gramse, avšak tzv. berlínská partitura (v NMA ceněna jako pramen D) byla pořízena přímo dle autografní partitury pražským varhaníkem Johannem Nepomukem Wenzelem, jehož plodné vídeňské kontakty s Mozartem autorka doložila už dříve. Dešifrování povahy dobové recepce opery La clemenza di Tito je ozvláštněno skutečností, že Mozartova autografní partitura neobsahuje secco recitativy. Editor této opery v rámci Neue Mozart Ausgabe Franz Giegling ocenil mezi sekundárními prameny tohoto díla jako pramen C Lobkovickou partituru, což nový výzkum doplnil zjištěním podílu pražských kopistů na opisu v pozůstalosti Karla Thomase Mozarta (pramen C1) a na partituře chované ve vídeňském Archiv der Gesellschaft der Musikfreunde (pramen G). Badatelsky dosud nedoceněná kopie Tita, vytvořená několika kopisty Gramsovy dílny, v níž dokonce plnila funkci tzv. Vorlagekopie, se nachází v londýnské British Library v pozůstalosti Domenica Dragonettiho (v rámci NMA podhodnocena jako Quelle F). Představuje nejen jeden z opisů tzv. první generace a z blízkosti autografní partitury, ale dodatečně do ní byl Gramsem vepsán i pražský německý překlad libreta. Z komparací všech tří pražských opisů vyplynul poznatek, že lobkovická partitura vznikla opisem tzv. londýnské partitury. La clemenza di Tito byla zřejmě nedlouho po své premiéře v Praze prováděna také v singspielové verzi, přičemž uplatněný německojazyčný překlad textu opery byl doposud neznámý, protože se nedochoval žádný tisk libreta v této verzi. Týž překlad obsahuje i další produkt Gramsovy dílny, tzv. curyšská partitura, z níž je dochován pouze 1. akt. Svůj význam měly pražské opisy Tita i pro první vydání opery tiskem (Breitkopf & Härtel 1809), což dokládají některé odchylky od autografní partitury, společné s londýnskou partiturou, která v současnosti platí za výchozí produkt celé pražské opisovačské tradice této Mozartovy opery.

5

Miłosierdzie Boże jako źródło inspiracji twórczej

83%

Michałek K., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2013

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vol. 11

EN

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.

PL

When analysing the works by outstanding composers, one may come to the conclusion that this topic was not exploited too often in the history of music. The issue of Misericordias Domini was not as popular as, for example, Stabat Mater or Te Deum. Even a broader look at this topic area does not allow for noticing too many compositions. Does it mean that the great masters of the past epochs were not interested in Divine Mercy?The answer to this question should be sought in theology, especially that of the Middle Ages. The then teaching of the Church exposed the Creator more in the role of a stern Judge than Merciful Father. In later times, this topic was tackled by composers more bravely and it thrived in the 20th century. Thanks to Helena Kowalska, later Saint Faustina, the cult of Divine Mercy accelerated and quickly spread all over the world. Its climax was the pontificate of Blessed Pope John Paul II who established the Feast of Mercy celebrated on the first Sunday after Easter. One of his last acts in this respect was the dedication of the Basilica of Divine Mercy in Krakow-Łagiewniki and forming the World Centre of Divine Mercy here. This site has become inspiration for our recording and PhD thesis.Gregorian chant is the oldest traditional chant in the liturgy of the Roman Catholic Church. The church has prayed with this chant since the 6th century. Misericordias Domini chant presented on the record is a typical example of a responsorial psalm in which prayer with the text of Psalm 103 is combined with the chant of the chorus Misericordias Domini in aeternum cantabo.Passacaglia is a form of composition characteristic for Baroque music, especially organ music. On the basis of the bass-ostinato, composers have built subtle polyphonic constructions. Misericordias Domini, the composition by Johann Rudolph Ahle (1625–1673), is constructed on this scheme. Ahle built a four-voice polyphonic construction on a diatonic, falling, half-note procession of sounds, by giving two voices to the violin duo and two to soloists: soprano and tenor. The multi-layer character of this piece relates not only to the sound matter but also to text, as the composer uses both Latin and German simultaneously.In the Renaissance and Baroque, the polychoral technique experienced the peak of its development. It was used in Misericordias Domini composed by Francesco Durante (1684–1755), representative of the Neapolitan School. Two choirs are involved in a dialogue to meet at the end of the composition, in the climax moments, when chanting Divine Mercy in eight voices.Wolfgang Amadeus Mozart’s (1756–1791) offertory of 1775, Misericordias Domini KV 222, belongs to rarely performed pieces. Its compact, through-composed form shows the masterly skill of the composer and his original approach to the topic of Divine Mercy. The dramatic narration, change of key which was not typical of classicism, e.g. from d-moll to c-moll, create an impression that the great composer might have been afraid whether he would experience Divine Mercy himself.Divine Mercy Song by Henryk Jan Botor (born in 1960), which was dedicated to Holy Father John Paul II, is composed well with other works inspired by the personality of the great Pope. It was composed in the jubilee year of 2000. The text borrowed from Saint Sister Faustina’s Diary was given to a soprano signer and also to the choir – in climax and text culmination moments. By using Neo-Romanticism musical language, Botor achieved the message readable to the listener, grasping pathetic and figurative music in words. Rich instrumentation, involving a string orchestra, a harp, an extended percussion section, a choir and solo voice, enabled the composer to create an almost unlimited pallet of colours and moods.Misericordias Domini composed by Wojciech Widłak (born in 1971) dated 19 April 2012 is the latest perspective on the described text. The composer created a subtly planned form, exploring the natural rhythm of the word Misericordias. Voices are treated here as instruments with the rhythm playing the leading role. The piece also uses modern means, such as glissando or recitals of texts in many languages, which affects the great power of the piece’s artistic expression. When it comes to texts, the author took them from memorial booklets in which pilgrims from all over the world entered their thank-you words and requests to Merciful Jesus at the Sanctuary of Divine Mercy in Krakow-Łagiewniki.Misericordia, the composition by Wojciech Kilar (born in 1932), is the piece that crowned the film Faustina (1994) directed by Jerzy Łukaszewicz. It is the meditation on Divine Mercy in the “form of crescendo” for a mixed choir of eight voices, string orchestra and piano. By using the minimum of means, the composer achieved maximum expression.The record is crowned with the organ improvisation based on the melody of the Polish church song: Jesus, I Trust in You.

6

Agenor i Strabon, Papageno i Sarastro: Lwowskie meandry operowej biografii Wojciecha Bogusławskiego

67%

Chachulski J.

Pamiętnik Teatralny

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2022

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vol. 71

|

issue 2

83-112

EN

This article refers to Zbigniew Raszewski’s findings regarding Wojciech Bogusławski’s acting roles in Lviv productions of the opera Amazonki (Amazons), the first joint work of Boguławski as librettist and the composer Józef Elsner. Based on incomplete information from Bogusławski’s Dzieła dramatyczne (Dramas), Raszewski concluded that the librettist played the Greek king Agenor. The analysis of the musical and literary elements of the opera generally confirms this, but it also suggests significant fluctuations in the author’s casting ideas. The aim of the article is to identify Bogusławski’s personal traces in the roles of both Agenor and Strabo. Hypotheses are also put forward regarding the moment in time and the reasons for changing the casting concept. The article expands the research on Bogusławski’s creative biography as an author, actor, and singer, using textual criticism (musical and literary sources), analyzing the cast in light of relevant operatic conventions, and employing analytical and interpretative tools of musicology and literary criticism, as well as comparative studies, to link fragments of the opera with Mozart’s The Magic Flute. An important methodological premise is the hitherto neglected possibility of using musicological tools in research on Bogusławski’s work and creative biography as a man of opera.

PL

Artykuł nawiązuje do ustaleń Zbigniewa Raszewskiego na temat aktorskiego udziału Wojciecha Bogusławskiego w lwowskich wystawieniach opery Amazonki, pierwszego wspólnego dzieła Bogusławskiego – jako librecisty – i Józefa Elsnera. Na podstawie niepełnych informacji z Dzieł dramatycznych librecisty Raszewski stwierdził, że Bogusławski występował w roli greckiego króla Agenora. Analiza muzycznego i literackiego współczynnika opery, zasadniczo potwierdzając to ustalenie, pozwala domyślać się istotnych fluktuacji w kształtowaniu się autorskich intencji obsadowych. Celem artykułu jest identyfikacja „osobistych” śladów Bogusławskiego obecnych zarówno w roli Agenora, jak i Strabona; postawione zostają także hipotezy dotyczące momentu i przyczyn zmiany koncepcji obsadowej. Artykuł rozwija badania nad biografią twórczą Bogusławskiego jako autora, aktora i śpiewaka, wykorzystując krytykę tekstu (źródła muzyczne i literackie), analizę obsady w świetle odpowiednich konwencji operowych, muzykologiczne i literaturoznawcze narzędzia analityczne i interpretacyjne, a także komparatystykę – by połączyć fragmenty opery z Czarodziejskim fletem Mozarta. Istotnym założeniem metodologicznym jest wykorzystanie zaniedbywanej dotąd możliwości odwołania się do narzędzi muzykologicznych w badaniach twórczości i biografii twórczej Bogusławskiego jako człowieka opery.

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