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Muzykolog Józef Reiss – prelegent perfekcyjny

100%

Woźna-Stankiewicz M.

Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes

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2013

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vol. 11

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issue 2

EN

The present study discusses the activities of the musicologist Józef Reiss (1879-1956) as lecturer in 1912-1927, mainly in Krakow, taking into account inter alia the problems he discussed and information about the performers of musical illustrations to his lectures. In 1912 Reiss began delivering lectures as part of the Public University Lectures at the Jagiellonian University and the Adam Mickiewicz People’s University; he then workedfor the Music Society and its Conservatoire, and somewhat later, during the First World War, for the Institute of Music and the College of Scientific Lectures; later, after Poland regained independence, he collaborated with the E. Bujański Concert Agency and Radio Krakow. He also gave talks and lectures organized by the Social Readery, Oratorian Society, Workers’ Youth Union “Znicz” [Torch], Association of Women Teachers, Professional Musicians’ Union, and by Witold Herget’s National Theater and Concert Agency. He delivered scientifi c lectures or popular-science and non-specialist lectures and talks. They were usually illustrated with musical compositions or excerpts, most often performedby pianists.Reiss presented his lectures as one-subject series (e.g. Ancient Greek music, The Romantic period in music, Subjectivism in music). He sometimes delivered single lectures, which usually discussed the artistic achievements of one composer (Chopin, Brahms,Tchaikovsky), or relationships between two composers (e.g. Stanisław Moniuszko and Carl Loewe, Ferenc Liszt and Juliusz Zarębski). The tendency to present historical-musical issues as larger wholes was also seen in the way of planning music mornings and evenings (e.g. series of mornings devoted to Wagner’s works). Reiss usually presented historical-musical subjects from several perspectives: the period in the history of music; a selected nation; a trend or style in music; the kind of music; a music genre; the artistic achievements of one composer; or one musical work. Because of the musical preferences of his audiences Reiss gave slightly preferential treatment to the operatic and song compositions of the 19th century, along with piano achievements. A special position in the subjects discussed by Reiss was devoted to Ludwig van Beethoven. At the same time he also gave lectures on entirely different musical phenomena, e.g. a lecture on jazz illustrated by the playing of a jazz band. In 1927 Reiss gave lectures and talks on the Polish Radio in Krakow before concerts(e.g. The Struggle for Jazz and Waltz, The Beethoven Ideology, The Outstanding Figures of Russian Music, On the 16th-Century Vocal Art, A Glance at French Music). The success of many well-executed lecture-cum-concert projects in which Reiss took part as well as the interest aroused by his talks and lecturers is evidenced by the large number and social composition of his audiences. For example, on 13 March 1913, at a music evening with a lecture on Beethoven, Reiss, and the pieces providing musical illustration, was listened to with unabated attention by over 250 people; they were workers for whom the event was organized by the People’s University. More socially diversified audiences listened to Reiss at events organized by the People’s University during World War One: in January 1916 three lectures on impressionism in music attracted many listeners whom the lecture room could hardly seat; at the music mornings with Reiss, organized for example in the “Uciecha” cinema (seating 430), there were also large audiences. It so happened that at a music morning devoted to jazz the room could not accommodate all those interested and the program had to be repeated at a later date. The data showing attendance at Reiss’s lectures and opinions about them permit a conclusion that the diffi cult art of talking about music with Reiss as the speaker attained a very high level satisfying the audiences.

PL

Artykuł nie zawiera abstraktu w języku polskim

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Nieznane fakty z biografii (nie tylko) Paderewskiego

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Woźna-Stankiewicz M.

Muzyka

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2022

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vol. 67

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issue 1

96-141

EN

Unknown facts from the biography of Ignacy Jan Paderewski and artists associated with him are discussed here in a broad personal and institutional context, with emphasis on cause-and-effect links between biographical and artistic phenomena. The account, documented in sources, consists of two parts. In the first, dealing with Paderewski’s stays in Cracow, Kąśna and Lviv between 1896 and 1898, the successive sections concern the Cracow celebrations held on 3 September 1896 by Józef and Antonina Szumowski in which Paderewski took part, and the piano brought there by Edward Kerntopf (manufactured by his family’s company), the performers on which, apart from Paderewski, included Henryk Melcer (introduced to the former), who premiered his own transcription of Moniuszko’s song ‘Prząśniczka’ [The spinstress]. Further sections deal with the following topics: the farewell given to Paderewski in the Żeleński family’s salon on 9 September 1896 and those present; the summer of 1898 in Kąśna and the first foreign account concerning Paderewski’s estate; Paderewski in the Żeleńskis’ salon on 27 August 1898 and his introduction to ‘Janek’; the performance of Paderewski’s ‘Cantata’ in the Żeleńskis’ salon; the pianist’s visits to Lviv and Kąśna in November 1897. Part Two deals with Paderewski’s brief tour of Great Britain in 1898–1899, covering his participation in the First London Musical Festival on 9 May 1899 and the successes that followed between 10 and 16 May, as well as his July performances in the salons of London tycoons and the recitals he gave at the end of November 1899 before his fourth US tour.

PL

Nieznane fakty z biografii Paderewskiego i związanych z nim twórców zostały opisane w szerokim kontekście osobowo-instytucjonalnym z uwypukleniem związków przyczynowo-skutkowych między biograficzno-artystycznymi fenomenami. Udokumentowana źródłowo relacja składa się z dwóch części. W pierwszej - Pobyty Paderewskiego w Krakowie, Kąśnej i Lwowie: 1896–98 – kolejne fragmenty dotyczą krakowskich uroczystości (3 IX 1896 r.) Józefa i Antoniny Szumowskich z udziałem Paderewskiego oraz sprowadzonego przez Edwarda Kerntopfa fortepianu jego rodzinnej firmy, na którym grał wówczas nie tylko Paderewski, ale przedstawiony mu Henryk Melcer, który po raz pierwszy zaprezentował swoją transkrypcje moniuszkowskiej Prząśniczki. Tytuły następnych fragmentów to: pożegnanie Paderewskiego w salonie Żeleńskich 9 IX 1896 r. i jego uczestnicy; lato 1898 r. w Kąśnej i pierwszy zagraniczny przekaz o posiadłości Paderewskiego; Paderewski w salonie Żeleńskiego 27 sierpnia 1898 roku i poznanie „Janka”; „Kantata” Paderewskiego w salonie Żeleńskiego, a wizyta pianisty we Lwowie i Kąśnej w listopadzie 1897 roku. Część druga – koncerty Paderewskiego w Wielkiej Brytanii: 1898–99 – obejmuje krótkie tournée pianisty w grudniu 1898, jego udział w pierwszym London Musical Festival 9 V 1899 r. i pofestiwalowe sukcesy między 10 a 16 maja oraz lipcowe występy w salonach londyńskich potentatów, natomiast w końcu listopada 1899 roku recitale przed czwartym tournée amerykańskim.

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Zygmunt Mycielski, Znaki zapytania. Wstęp i komentarze Beata Bolesławska-Lewandowska, red. Beata Bolesławska-Lewandowska, Marek Zagańczyk. Kraków: Polskie Wydawnictwo Muzyczne, 2022, ss. 405. ISBN 978-83-224-5194-6

100%

Woźna-Stankiewicz M.

Muzyka

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2023

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vol. 68

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issue 2

162-167

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Józef Elsner, Król Łokietek, czyli Wiśliczanki. Opera w dwóch aktach. Libretto Ludwik Adam Dmuszewski, wyd. Grzegorz Zieziula, Warszawa 2019 (= Monumenta Musicae in Polonia. Seria E: Opera selecta) Instytut Sztuki PAN, ss. 527. ISBN 978-83-65630-84-1

100%

Woźna-Stankiewicz M.

Muzyka

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2021

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vol. 66

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issue 2

193-198

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1 Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes

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Muzykolog Józef Reiss – prelegent perfekcyjny

Nieznane fakty z biografii (nie tylko) Paderewskiego

Zygmunt Mycielski, Znaki zapytania. Wstęp i komentarze Beata Bolesławska-Lewandowska, red. Beata Bolesławska-Lewandowska, Marek Zagańczyk. Kraków: Polskie Wydawnictwo Muzyczne, 2022, ss. 405. ISBN 978-83-224-5194-6

Józef Elsner, Król Łokietek, czyli Wiśliczanki. Opera w dwóch aktach. Libretto Ludwik Adam Dmuszewski, wyd. Grzegorz Zieziula, Warszawa 2019 (= Monumenta Musicae in Polonia. Seria E: Opera selecta) Instytut Sztuki PAN, ss. 527. ISBN 978-83-65630-84-1