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Polski epizod w działalności artystycznej pianisty i kompozytora Josepha Woelfla

100%
Bogula E.
Kwartalnik Młodych Muzykologów UJ
|
2015
|
issue 2(25)
4-14
EN
Joseph Woelfl, an Austrian pianist and composer, was born on 24th December 1773 in Salzburg, where he began his musical education. In 1790 he left his hometown for Vienna, most probably following Wolfgang Amadeus Mozart. He can't have stayed there long as in 1791 he was admitted for service at Prince Michał Kleofas Ogiński's estate, where he spent about fifteen months. Prince Ogiński is remembered in the history of music mainly as the master of the stylised polonaise. The short cooperation with Woelfl bore fruit in their artistic activities, as Prince Ogiński created his first stylised polonaises during that time. Similarly, Woelfl was inspired by Polish surroundings. During his stay in Warsaw he created Polonaise, which became part of his sonata, marked as Fw 7 by Margit Haider-Dechant in the Joseph Woelfl. Verzeichnis seiner Werke, which was probably performed during a public concert in the capital of the Polish-Lithuanian Commonwealth in 1792. The Polish dance must have made a great impression on the Austrian composer, as Polonaise in the form of a rondo reappeared in his musical output in the third movement of Piano Concerto No.1 op. 20, published in Paris nearly ten years later. Neither Joseph Woelfl nor above mentioned Piano Concerto op. 20 are currently popular in Poland. Thus, I would like to have a closer look at the piece, paying particular attention of the third movement Rondo a la Polonaise and at the same time referring to the mutual inspirations of the Austrian and Prince Michał Kleofas Ogiński.
2

Czy pianiści to również aktorzy, czyli kilka refleksji nad gestem w muzyce

100%
Bruliński M.
Kwartalnik Młodych Muzykologów UJ
|
2015
|
issue 3 (26)
44-56
EN
Apart from the functional dimension, the pianist’s gesture, which cannot be compared to linguistic sign, is a medium of various meanings, therefore it plays an important role in the extraverbal proces of communication between the pianist and the audience during the piano recital. It is stated that the agreement between pianists, as representatives of airtight world of classical music, and a crowd of aesthetically open-minded people, lies in the sphere of body and gesture. The author outlines some proposals on how to define a musical gesture and how to examine it. It is proved that the gesture is a powerful tool in the pianist's hands and that the arsenal of emotionally-communicative gestures during the piano performance process is enormous. Immensely important in the gestural context is coherence and naturalness. There exists a contradiction between the reflections derived from the modern performance practice and the common knowledge of the majority of piano teachers, caused by numerous 'historical misunderstandings'. A brief study of selected gestural cases (Franz Liszt, Ignacy Jan Paderewski, Sviatoslav Richter, Emil Gilels, Lang Lang, Martha Argerich, Yuja Wang, Waldemar Malicki) was done.
3

СУТНІСТЬ ТА СТРУКТУРА ХУДОЖНЬО-ВИКОНАВСЬКОЇ МАЙСТЕРНОСТІ МАЙБУТНІХ ПІАНІСТІВ З КНР

86%
Сянюн Ч.
Педагогічні науки: теорія, історія, інноваційні технології
|
2016
|
issue 7(61)
25-36
EN
The article presents the theoretical and pedagogical analysis of the formation of artistic and performance skills of the future pianists from China in terms of vocational training; disclosed the scientific approach (art history, cultural, educational), based on which the concepts of “skill” and “performance art” are generalized. In order to enrich the theoretical and methodological framework the author suggested his own interpretation of the concept of “artistic and performance skills”, developed its structure in the relationship of the following components: personal-motivation, competency, reflexive. Analysis of educational, cultural and philosophical research papers made possible disclosure of the nature, structure and content of such concepts as “skill”, “mastery”. The results of this analysis have established the theoretical basis for the definition of the key concept of the study “Art and mastery”, which we understand as a higher level of complex theoretical, technological, psychological and pedagogical knowledge and techniques of the instrumentalist aimed at disclosing the artistic content of music, formed in the process of training and implemented in the educational and performing activities. The structure of artistic and performance skills of the future pianists from China is defined and analyzed. It is represented by the following interrelated components: personality, motivation, competence, reflective. Personality-motivational component includes emotional and volitional characteristics and motivation of the future pianist from China, performs catalytic function and highlights the psychological readiness and ability of the individual to exercise artistic and performing activities, leads to the improvement of their own professional experience. Competence component performs information, orientation, transmitting function, represented by the unity of educational, cultural, musical and theoretical expertise as well as a set of skills that ensure practical realization of artistic and performance skills of the future pianist from China. Reflexive component contains critical and heuristic principles, serving as a source of new knowledge, performing a regulatory function. Prospects for further scientific research. The study does not cover all issues of the formation process of artistic and performance skills of the future pianists from China. It opens the prospect for a better understanding of conditions, factors, patterns, forming technology features of artistic and performance skills of the future professionals in the later stages of professional pedagogical training.
4
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Juliusz Kaden-Bandrowski about Music, Work and Writing – a Writer at the Piano

58%
Wróbel E.
Edukacja Muzyczna
|
2020 (EN)
|
issue 15
279-306
EN
The paper recalls the figure of the leading writer of the Second Polish Republic, Juliusz Kaden- Bandrowski. Alluding to his biography and his acquired musical education in his youth, it makes the point that this influenced his artistic attitude. The center of analysis is Kaden-Bandrowski’s article devoted to Aleksander Michałowski, an excellent pianist in the turn of the nineteenth and twentieth centuries. The main thesis of the article is Kanden-Bandrowski’s great respect forMichałowski’s work and creative effort, which he partially owed to his early musical education. The author also references to Kaden-Bandrowski’s critical texts from the beginning of his literary career as well as his association with the Fryderyk Chopin International Piano Competition; which began in 1927 in Warsaw. Kaden-Bandrowski was a member of the organizing committee for the first competition.
PL
Autorka przypomniała postać czołowego pisarza II Rzeczypospolitej, Juliusza Kadena-Bandrowskiego. Odwołała się do jego biografii, ukazując, że fakt zdobycia przez niego w młodości wykształcenia muzycznego mocno wpłynął na postawę artystyczną pisarza. W centrum analizy znalazł się szkic Kadena-Bandrowskiego poświęcony doskonałemu pianiście przełomu dziewięt- nastego i dwudziestego wieku Aleksandrowi Michałowskiemu. Tekst ten stał się dla Kadena również ważną deklaracją artystyczną. Autorka odwołała się także do krytycznych tekstów Juliusza Kadena-Bandrowskiego z początkowego okresu jego literackiej kariery, aby pokazać szersze stanowisko pisarza wobec sztuki. Przypomniany został także związek pisarza z Międzynarodowym Konkursem Pianistycznym im. Fryderyka Chopina, który odbywa się od 1927 w Warszawie; Kaden był członkiem komitetu organizującego pierwszą edycję tego konkursu.
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