Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help

  1. 2 Edukacja Muzyczna

Authors help

  1. 2 KANIOWSKA M.

Years help

  1. 1 2013

  2. 1 2011

Results found: 2

first rewind previous Page / 1 next fast forward last

Search results

help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Publication available in full text mode
Content available

Baśń o Sinobrodym jako źródło inspiracji dla twórczości scenicznej Beli Bartóka

100%
KANIOWSKA M.
Edukacja Muzyczna
|
2011
|
issue 6
181-216
EN
The article entitled Béla Bartók’s “Bluebeard’s Castle” – the opera of the turn of styles is an attempt to show remarkable philosophical and artistic values of this work. In the article we can find a brief historical outline of the Hungarian opera and a discussion of Bartok’s works. The basis of the libretto of the opera – a tale of Bluebeard is the next issue subjected to further analysis. Moreover, the previous interpretations of the legend’s message are also presented. In the second part of the article, the origin of the opera Bluebeard’s Castle B. Bartók, the libretto, musical and theatrical conception of this work are also discussed. The article is complemented by the full text of the libretto in the author’s own translation (from English into Polish).
2
Publication available in full text mode
Content available

Wybrane problemy interpretacyjne w VI Symfonii h-moll Patetycznej Piotra Czajkowskiego – uwagi dyrygenta

100%
KANIOWSKA M.
Edukacja Muzyczna
|
2013
|
issue 8
99-123
EN
The article is a complex study of interpretational analysis devoted to Pyotr Tchaikovsky’s Symphony No. 6 in h-minor op. 74 Pathétique. Introduction to the analysis is a short historic outline of development of symphony from its very beginnings to modern times, with emphasis put on crucial points, which are the turning points in the development of this kind of music. Then, the authoress concentrates on characterizing the symphonic language of Pyotr Tchaikovsky, and dis- cussed the Symphony No. 6 Pathétique starting from its genesis to a compact analysis of its form. She points out the elements, which are vital in creating a satisfactory conductors interpretation of the work. The final part of the work is comparison of six phonographic recordings of Tchai- kowski’s Symphony No. 6, made in the 20th century: Tchaikovsky, Symphony No. 6 Pathetique /Ozawa; Boston Symphony Orch. (CD, Erato 6702372), 1991; Czajkowski, Symfonia nr 6 Patetyczna/Semkow, WOSPR&TV in Katowicach (LP Muza SX 1808), 1979; Tchaikovsky, Symphony No. 6 Pathetique/Bernstein & New York Philharmonic (CD DG 419 604–2), 1987; Tchaikovsky, Symphony 6 Pathetique/Karajan, Berlin PO (CD, DG 427 862-2), 1964; Tchaikov- sky, Symphony No. 6 Pathetique/Nanut, Ljubljana Radio Sym Orch. (CD, Jan-1990, Pilz Vienna Masters Series), 1990; Tchaikovsky, Symphony No. 6 Pathetique/Ormandy, Philadelphia Orch (LP, Columbia ML 4544), 1953. According to the subjective assessment of the authoress, the recording of the Symphony made by New York Philharmonic, conducted by L. Bernstein, is closest to the ideal.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.