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Kompozycje na akordeon solo w twórczoci Edwarda Bogusławskiego

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STACHURA-BOGUSŁAWSKA A.
Edukacja Muzyczna
|
2013
|
issue 8
11-25
EN
The purpose of this article is presentation of accordion solo works by Edward Bogusawski, a contemporary Polish composer, who died in 2003. The list of all the accordion works by the composer contains over a dozen compositions. They are works that significantly contributed to Polish accordion literature, and they were all written after 1980. They include solo, chamber, vocal-instrumental works, as well as a concert for accordion and an orchestra. In the article, the works for accordion solo are thoroughly analysed: Three postludia (1980– 81), Capriccioso per accordeono (1985), and Continuo II per accordeono solo (1988). These works have not been thoroughly discussed in the musicological literature so far – they were just mentioned. When discussing the selected works, the authoress concentrates particularly on the sound material, the formal shape and general emotional expression. She outlines Bogusawski’s artistic career and his shaping up his own sound language. She points out the composer’s fascination with the tone of the accordion. The most characteristic traits sound language are discussed, also in his other works composed in the 80s of the 20th century.
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Aleatoryzm i forma otwarta w twórczości Edwarda Bogusławskiego

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STACHURA-BOGUSŁAWSKA A.
Edukacja Muzyczna
|
2011
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issue 6
91-126
EN
In the 70s Edward Bogusawski was interested in the open form and aleatorism. It was connected with his leave for Vienna and studies with Roman Haubenstock-Ramati, the composer fascinated with the possibilities of new forms, the creator of numerous graphical compositions. The cooperation resulted in the idea of using an open form in which an incident plays a crucial role and a performer has influence on a final shape of the work being performed. Aleatorism in works by Bogusawski, who highly appreciates Witold Lutosawski’s workshop achievements, refers to rhythm and time courses and also applies to the selection of order of implementation of individual musical segments. The incident does not, however, apply to sound material that is thoroughly selected by the creator himself. The idea of the open form was implemented by Bogusawski in the field of solo and chamber music. In solo works (for example: Per pianoforte, Five Pictures for flute solo) the order of performance of individual parts depends entirely on a performer’s imagination and creativity. In chamber works (for example: Musica per Ensemble MW2 and Aria for flute, cello and 2 pianos), apart from changeable form, numerous tones and sonoristic sound phenomena were used, amongst the others, whispers obtained when blowing a flute and opening an inlet gap at the same time, glissandos, sharp sounds obtained by pressing a string with a bow, preparation of a piano obtained
3
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Oblicza formy koncertujcej w twórczości Edwarda Bogusławskiego w latach 1968–1980

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STACHURA-BOGUSŁAWSKA A.
Edukacja Muzyczna
|
2012
|
issue 7
49-82
EN
This paper presents orchestra works with solo and concert instruments of Edward Boguslawski that were created between 1968–1980. The general term “concert forms” used in relation to Boguslawski’s works, intended for one or more solo instruments, most accurately shows their variety. The basic question one should pay attention to is the relationship between the solo instrument and the orchestra. In Boguslawski’s music this relationship usually departs from the classical pattern of solistic leading role towards the close fusion of the solo part and the or- chestra according to various assumptions which lie within the variety of the definition of “concert- ing”. The sign of equality put between the composer’s attention to technical-sonoristic value of the solo instrument and the precision in constructing orchestra sound planes, fully shows his mastery of instrumentation techniques. And although concert instrument, because of its specific role, be- comes a leading instrument in the course of the musical narration, many times the creator blends the sound of the orchestra in polygenic tissue making it the most important. Three works of Boguslawski are analyzed in the paper: Concerto per oboe oboe d’amore anche, corno inglese, musette e orchestra (1968), Concerto per oboe musette anche, an orchestra soprano (1975/1976), and Musica concertante per saxofono alto e orchestra (1979/1980). These works, despite the differences in the architectural framework are all connected by musical substance and interior development based on the assumption sonorism, aleatory and dodecaphonic organizing, maintaining the dominant role of the traditional idea of concerting.
4
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Igor Strawiński i Wacław Niżyński artyści wizjonerzy u progu nowej epoki

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STACHURA-BOGUSŁAWSKA A.
Edukacja Muzyczna
|
2015
|
issue 10
221–243
PL
Kompozytor Igor Strawiński oraz tancerz i choreograf Wacław Niżyński skrzyżowali swe drogi twórcze na początku wieku XX, aby zrewidować dotychczasowe myślenie o sztuce i wprowadzić ją w nowy wiek. Apogeum współpracy tych dwóch wybitnych artystów stanowiło wystawienie baletu Święto wiosny, którego premiera w 1913 roku, zapisała się w historii jako jeden z najwięk- szych skandali muzycznych naszej epoki. Niniejszy artykuł posiada charakter kompilacyjny. Wykorzystuje znane opracowania muzykologiczne i historyczne dotyczące literatury przedmiotu.
EN
The composer Igor Stravinsky and the dancer and choreographer Vaslav Nijinsky crossed their creative paths at the beginning of the twentieth century, which made them revise their approach to art and introduce it in a new era. The collaboration of these two outstanding artists culminated with the staging of the ballet ‘The Rite of Spring’, whose premiere in 1913 made history as one of the greatest musical scandals of our time. This paper is of a compilative nature. It uses renowned musicological and historical analyses relating to the literature on the subject.
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