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1

Neoklasyczny idiom muzyki Tadeusza Kasserna

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Kostka V.

Aspekty Muzyki

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2011

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vol. 1

63-82

EN

A characteristic feature of Tadeusz Z. Kassern’s artistic output is a variety of musical styles, among which there is Post Romanticism, Post Impressionism, Folklorism, Expressionism, and different neoclassical sub-styles such as the Neoclassicism proper, Neoclassicism with archaic elements, Neoclassicism with archaic and romantic elements, as well as radical Neoclassicism. Among the abovementioned styles, the proper Neoclassicism is predominant. It is represented by Concerto for string orchestra, Concertino for oboe and string orchestra, the opera Comedy of the Dumb Wife to the composer’s own libretto based on a play by Anatole France, and many other works. The works belonging to this group are part of a widespread musical dialect, at the same time bearing traces of the composer’s individual choices that create a distinct musical idiom. This idiom, like the majority of idioms within the sub-dialect, is well-grounded in neotonal syntactic rules and formal strategies directed mainly at typical baroque and classical forms. Within the scope of the patterns replicated, it is close to the French and Polish proper Neoclassicisms. With the French Neoclassicism, it has in common static tonality, form, solutions in orchestration, as well as the use of quotations and parody; with the Polish style, it shares principles of symmetry and references to Polish musical tradition. As characteristic determinants of Kassern’s idiom, one can assume the simplest kinds of poly-tonality, considerable use of ostinatos, varied rhythmic unfolding, and multi-layered texture, which in its most developed form can be found in the expressionistic opera The Anointed.

2

Singletrack na fortepian solo Pawła Szymańskiego jako utwór algorytmiczny

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Kostka V.

Aspekty Muzyki

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2013

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vol. 3

49-58

EN

The term ‘algorithm’ is roughly defi ned as a set of rules for solving a problem in a fi nite number of steps. Algorithms in music are used in a variety of ways, including sound synthesis and composing, whenever result benefi ts from applying a series of rules or instructions. Paweł Szymański has composed many such works and one of them is Singletrack for piano solo. Basing on analysis the author concludes that Singletrack’s algorithm is as following: 1. Create four motifs 7-, 9-, 11-, and 13-notes long with the same beginnings and endings if possible. 2. Build a single-voice construction taking in turn only one sound from the shortest to the longest motifs. After exhaustion of all sounds of any motif take sounds from the beginning of the motif and continue. 3. Do not change a register of the individual sounds. 4. See if a construction is possible to play by a pianist. 5. Continue to build the single-voice construction till desirable length. The algorithm above had resulted in initial structure, which Szymański changed later in many ways according to aesthetic rules. It is just the fi nal structure that shows the master class of the composer. However, the author puts off discussion of it on the other occasion.

3

Wykładnik intertekstualny, interpretant i znaczeniowa gra — klucze do interpretacji muzyki Pawła Szymańskiego

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Kostka V.

Aspekty Muzyki

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2017

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vol. 7

119-140

EN

This paper concerns the interpretation of Paweł Szymański’s music. Using the theories by Michael Riffaterre and Ryszard Nycz, the author states that three categories are necessary to explain at least a part of his music. (1) The intertextual exponent is the material which finds its way from the intertext to the new text. In Szymański’s music it has two levels: the first is the structure which constitutes a historical invariant, while the second one is the same structure after transformations. In turn, (2) the interpretant is a set of rules which enable the transformation of the intertextual exponent of the first level into a new fragment of text or into an entire text. The main subject of the research is (3) the complete basic text, where the main point is to grasp the general sense, which takes into consideration the intertextual play and is constructed on the basis of autonom-ous and designative meanings. In order to prove the practical aspect of the above-mentioned method, the author has attached the interpretation of the first movement of A Kaleidoscope for M.C.E. for cello (1989). Thanks to the algorithmic character of the selected composition, it is known that the intertextual exponent of the first level is a “truncated”, single-theme, three-part fugue in D-minor, in the style of J.S. Bach. The interpretant is divided into factors of the following three types: (1) extending the pre-composition structure, (2) transforming the extended structure and (3) ornamental. Taking into consideration all the meanings which manifest themselves on the surface of the composition, the author concludes that the work is a musical kaleidoscope, in which the role of coloured pieces of glass is played by the baroque fugue, while the changing configurations of the fragmented baroque and contemporary meanings play the role of kaleidoscopic effects.

4

Druga część Through the Looking Glass… III na klawesyn Pawła Szymańskiego. Intertekstualna gra i forma muzyczna. Teoretyczne podstawy modelu

100%

Kostka V.

Aspekty Muzyki

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2018

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vol. 8

441-454

PL

Na podstawie pewnej grupy przeanalizowanych utworów Pawła Szymańskiego autorka stwierdza, że charakterystyczna dla tego kompozytora intertekstualność ściśle wiąże się z problemem formy muzycznej i aby móc formułować sensowne wnioski na temat jednego z tych dwóch problemów, należy posiadać wiedzę o drugim. Aby udowodnić swoją hipotezę, bierze na warsztat drugą część Through the Looking Glass… III na klawesyn. Najpierw odkrywa przed czytelnikami strukturę wyjściową utworu, jaką jest progresja melodyczna w stylu barokowym, potem formułuje prawdopodobny sposób transformacji tej struktury, by na końcu ujawnić, że tekst właściwy jest od początku do końca intertekstualną grą między barokowymi a nowoczesnymi znaczeniami muzycznymi. Tak skonstruowany technicznie utwór autorka widzi jako formę pięciofazową, w której kolejne fazy różnią się między sobą stopniem nawiązania do struktury wyjściowej. Fazy pierwsza, trzecia i piąta są krótkie i znacznie zbliżone do odpowiednich fragmentów struktury wyjściowej, natomiast fazy druga i czwarta — bardzo rozbudowane, przy czym druga — jest regularna i o średnim stopniu barokowości, natomiast czwarta — nieregularna i o wysokim stopniu nowoczesności.

EN

On the basis of a number of analysed compositions by Paweł Szymański, the author states that the intertextuality, characteristic for this composer, is closely connected with the issue of a musical form. To be able to draw sensible conclusions concerning either of the above issues, one has to have knowledge on the other. In order to prove her hypothesis, the author has chosen the second movement of Through the Looking Glass… III for harpsichord. First, she reveals to the readers the basic structure of the composition, i.e. the melodic progression in the baroque style, then establishes the possible way of transforming this structure, and finally discloses the fact that the text proper is, from the beginning to the end, an intertextual play between baroque and modern musical meanings. The author perceives the composition, technically constructed in the above-mentioned way, as a five-phase form, where the subsequent phases differ by the degree of their relation to the basic structure. The first, third and fifth phases are short and considerably similar to the respective fragments of the basic structure, while the second and fourth ones are very extensive. The second phase is regular, characterised by an average degree of baroqueness, whereas the fourth one is irregular, with a high degree of modernity.

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4 Aspekty Muzyki

4 Kostka V.

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1 2017

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Neoklasyczny idiom muzyki Tadeusza Kasserna

Singletrack na fortepian solo Pawła Szymańskiego jako utwór algorytmiczny

Wykładnik intertekstualny, interpretant i znaczeniowa gra — klucze do interpretacji muzyki Pawła Szymańskiego

Druga część Through the Looking Glass… III na klawesyn Pawła Szymańskiego. Intertekstualna gra i forma muzyczna. Teoretyczne podstawy modelu