Results found: 2

Search results

Search:
in the keywords: Zbigniew Bujarski

Sort By:

Limit search:

Stabat Mater Zbigniewa Bujarskiego w kontekście tradycji gatunku

100%

Borowiecka R.

Aspekty Muzyki

2014

vol. 4

11-29

The Christian religion, since the beginning of its times focuses on contemplating the circum-stances of Christ’s death. The scene of Mater dolorosa found its literary expression in the words of a medieval poem Stabat Mater dolorosa. The text became part of the Church liturgy as a sequence and hymn and distinctly entered the music art world. Through compositions, the authors passed on both the creed of Christian faith as well as personal experiences related with the search for the purpose of life and death in the face of a tragic situation. Bujarski’s Stabat Mater was composed following an “external inspiration” (a commission), but it was preceded by a profound “internal inspiration”. The author wrote the composition to the Polish philological translation of the sequence, because he wanted his work to be a very personal statement as close as possible to his deepest feelings. In Stabat Mater, the composer refers to an oratorio and cantata genre creating a choir and orchestra composition. The relations between choir and orchestra set in the history of interpretations are reversed in Bujarski’s composition, i.e. instru-mental music seems to be in the foreground, and the vocal parts only bring further clarification of semantic contents. The author captured the scene with Mater Dolorosa as if in the frames of a paint-ing: within one cohesive whole he provided the course of his work with a three-part layout with re-prise features. Listening closely to Stabat Mater it is impossible not to get the impression that music carries with it quasi-painting features, playing out between the darkness of the Golgotha’s drama and the light of hope coming from the Resurrected Jesus. Colour (an essential feature of Bujarski’s music) and space-time are often shaped in contrast with each other, as if in a chiaro-scuro effect. Bujarski in his “end-of-the-century” work expressed the entire complexity of time in which he lives (fear, tragedy), but he also confirmed his Christian attitude which he represented from the very beginning of his creative path (he pointed to hope and love). Stabat Mater constitutes also a fervent prayer full of humility and trust. It seems as well that in Stabat Mater, through the tragedy of God-man crucified for man’s misdeeds, Bujarski expressed a man of his generation. By referring to the great sacral tradition and through a highly individual musical interpretation, the composer once again discovered “veiled and lost values” and set out the right path for man, leading towards hope, towards the highest Truth.

„Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans

54%

Stojewska A., 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

2016

vol. 14

In the text „Vioce” of Karol Szymanowski in the music of Henryk Mikołaj Górecki, Zbigniew Bujarski and Grażyna Pstrokońska-Nawratil. Music in the music – music from the music – music about the music. Reconnaissance, the author attempts to hear voices of Karol Szymanowski, manifesting at various levels of musical work (a methodological base: intertextuality suggested by Mieczysław Tomaszewski, understood as music in the music – music from the music – music about the music). She presents three chosen musical pieces with the messages of religious, where the influence of the attitude of the composer is most significant. These are: Symphony no. 3 Symphony of sorrowful songs Opus 36 – H. M. Górecki (1976), Stabat Mater to a mixed choir and symphony orchestra – Z. Bujarski (2000) and Magnificat to the soprano vioce, a mixed choir and a symphony orchestra – G. Pstrokońska-Nawratil (2004).

W tekście pt. „Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans autorka podejmuję próbę wysłyszenia głosów Karola Szymanowskiego, przejawiających się na różnych poziomach dzieła muzycznego (podstawa metodologiczna: intertekstualność zaproponowana przez Mieczysława Tomaszewskiego, rozumiana jako muzyka w muzyce – muzyka z muzyki – muzyka o muzyce). Przedstawia trzy wybrane utwory o przesłaniach religijnych, w których wpływ postawy kompozytora jest najbardziej znaczący. Są to: III Symfonia „Pieśni żałosnych” op. 36 H. M. Góreckiego (1976), Stabat Mater na chór mieszany i orkiestrę symfoniczną Z. Bujarskiego (2000) oraz Magnificat na sopran, chór mieszany i orkiestrę symfoniczną G. Pstrokońskiej-Nawratil (2004).

Refine search results

1 Aspekty Muzyki

1 Pro Musica Sacra

1 Borowiecka R.

1 Delimat W.

1 Janicki J. J.

1 Karcz B.

1 Malik J.

1 Pasek W.

1 Sterczewska L.

1 Stojewska A.

1 Tyrała R.

1 UPJPII i.

1 Zając A.

1 2016

1 2014

Search results

Stabat Mater Zbigniewa Bujarskiego w kontekście tradycji gatunku

„Głos” Karola Szymanowskiego w muzyce Henryka Mikołaja Góreckiego, Zbigniewa Bujarskiego i Grażyny Pstrokońskiej-Nawratil. Muzyka w muzyce – muzyka z muzyki – muzyka o muzyce. Rekonesans