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The Strategy of “Controlled Reception” in Witold Lutosławski’s Commentaries on his own Works

100%

Krajewski M.

Musicology Today

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2015

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vol. 12

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issue 1

80-89

EN

Witold Lutosławski’s commentaries on his own music are often defective in many regards. These defects could be explained as resulting from a strategy according to which the aim of a commentary is not to provide a truthful description of musical phenomena but to form a desired image of a composition or a musical style in the minds of the listeners. This idea of ‘controlled reception’ was clearly outlined by the famous Polish writer Witold Gombrowicz (whose writings Lutosławski knew and highly appreciated) and is especially noticeable in the composer’s remarks on “controlled aleatoricism”, “thin textures” and the connections between his music and the twelve-tone technique. The view of reception of art common to Gombrowicz and Lutosławski could be characterised in the writer’s own words: A style that cannot defend itself before human judgment, that surrenders its creator to the ill will of any old imbecile, does not fulfil its most important assignment. [...] the idiot’s opinion is also significant. It also creates us, shapes us from inside out, and has far-reaching practical and vital consequences. [...] Literature [art in general - note by M.K.] has a dual significance and a dual root: it is born of pure artistic contemplation [...], but it is also an author’s personal settling of accounts with people, an instrument in the battle waged for a spiritual existence.

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Awangardowe techniki kompozytorskie w Trzech diagramach na flet solo Henryka Mikołaja Góreckiego

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Sucharska W.

Kwartalnik Młodych Muzykologów UJ

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2016

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issue 4(31)

78-99

EN

The aim of the article is to analyse Three diagrams for solo flute Op. 15 by Henryk Mikołaj Gorecki in the light of compositional techniques used in the piece as well as placing the work in the context of the early output of the composer. In order to achieve the defined aims the score has been analysed as well as the statements of the composer and of people related to him. This research enabled the author to precise in what ways Gorecki uses techniques such as serialism, punctualism and aleatorism. In the paper composer’s individual and innovative approach to the avant-garde techniques is revealed. However, the idiomatic elements of the whole Gorecki’s style are also present in the analysed work. The article consists of two parts. The first part includes the problem of history and the style of Henryk Mikołaj Gorecki’s early works. The second part is devoted to the analysis and conclusions.

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Architektonika Logiki sensu Deleuze'a

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Tercz J.

Praktyka Teoretyczna

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2012

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vol. 5

17-32

EN

The article presents a specific proposal of reading the Logic of Sense,which – referring to the philosophy of Kant – I call architectural. Architecturalreading consists in the simultaneous analysis of philosophical theory and the formalstructure of the work. Although this technique may be referred to a number ofclassic works, Logic’s case appears to be unique, as suggested by the author when henames each of the 34 chapters ‘series’ as a pivotal concept for the theory. ThereforeLogic is deliberately self-reflexive, which means that the structure of chapters andparagraphs, the nature of philosophical concepts, and even the difficulty in readingare justified by contents. Finally, it appears that Logic is constructed as a puzzlewaiting to be solved in accordance with subjective questions and problems of thereader. I intentionally do not present any particular proposal of reading, I merelytry to provide a ‘strategy’. In this sens, the article is a prolegomena to the properreading of the Logic of Sense.

PL

W artykule przedstawiam specyficzną propozycję lektury Logiki sensu, którą – luźno nawiązując do filozofii Kanta – nazywam architektoniczną. Lektura architektoniczna polegać ma na jednoczesnej analizie teorii filozoficznej oraz formalnej konstrukcji dzieła. Chociaż technikę taką można próbowaćodnieść do wielu klasycznych już pozycji, to przypadek Logiki sensu okazuje się wyjątkowy – zasugerował ją bowiem sam autor, gdy każdy z trzydziestu czterech rozdziałów nazwał serią, pojęcie „serii” zaś uczynił kluczowym dla teorii. Logika jest więc celowo książką samozwrotną, co przekłada się między innymi na to, iż układ rozdziałów i akapitów, charakter pojęć filozoficznych, a nawet trudności z czytaniem znajdują uzasadnienie w treści. Ostatecznie okazuje się, że Logika sensu jest skonstruowana jak układanka czekająca na złożenie zgodnie z subiektywnymi pytaniami i problemami Czytelnika. Celowo nie przedstawiam żadnej konkretnej propozycji lektury, wykładam jedynie narzędzia do jej„obsługi”. W tym sensie artykuł stanowi prolegomena do właściwej lektury Logiki sensu.

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Atonalita a nevědomí: jedno Adornovo přirovnání a jeho důsledky

72%

Fulka J., Vomáčka I.

Hudební věda (Musicology)

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2021

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vol. 58

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issue 3

413-430

EN

In the present article, the author concentrates on a particular use that Adorno, in his Philosophy of New Music, makes of psychoanalytical terminology. The author attempts to show that in his chapter on Stravinsky, Adorno uses this terminology in an instrumental way, as a means of “pathologizing” Stravinsky’s music, while in the chapter on Schoenberg, the same terminology is explored in view of its potential for shedding new light on the composer’s artistic freedom, as conceived by Adorno especially in relation to Schoenberg’s atonal period. It seems that Adorno regards psychoanalysis as a general theory of mental expression, making possible a new understanding of Schoenberg’s atonal reform and of a dialectical relationship between form and expression in Schoenberg’s atonal music. Given this viewpoint, the author pays particular attention to Adorno’s interpretation of Schoenberg’s Erwartung. In the final part of the text, the author attempts to demonstrate that this interpretation of Erwartung played a fundamental role in Adorno’s polemic with post-war serialism, as presented especially in his essay Vers une musique informelle.

CS

Autor se v článku zaměřuje na způsob, jakým Adorno ve své knize Filosofie nové hudby využívá psychoanalyticky inspirovanou terminologii. Cílem je ukázat, že zatímco v části věnované Stravinskému je tato terminologie využívána instrumentálně, jako nástroj sloužící k „patologizaci“ Stravinského hudby, v části věnované Schönbergovi je prozkoumáván její potenciál k novému chápání umělecké svobody, jak ji Adorno chápe v souvislosti se Schönbergovým atonálním období. Zdá se, že Adorno ve freudovské psychoanalýze vidí především novou teorii psychické exprese, která podle něho umožňuje nové chápání schönbergovské hudební reformy a dialektický vztah formy a exprese v Schönbergových atonálních kompozicích. Z této perspektivy se autor zaměřuje především na Adornovu interpretaci Schönbergova monodramatu Očekávání. V závěrečné části se pokoušíme ukázat, že tento Adornův výklad Očekávání byl určující i pro jeho polemiku s poválečným serialismem, jak je prezentována zejména v textu Vers une musique informelle.

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The Strategy of “Controlled Reception” in Witold Lutosławski’s Commentaries on his own Works

Awangardowe techniki kompozytorskie w Trzech diagramach na flet solo Henryka Mikołaja Góreckiego

Architektonika Logiki sensu Deleuze'a

Atonalita a nevědomí: jedno Adornovo přirovnání a jeho důsledky