Res Facta Nova 2013 — call for papers
W 2013 roku muzyczny świat czcić będzie dwusetną rocznicę urodzin dwóch operowych tytanów – Giuseppe Verdiego i Richarda Wagnera. Ale rok 2013 ma także szansę zapisać się jako ważna data w historii opery polskiej, ponieważ wiosną tego roku, w warszawskim Teatrze Wielkim – Operze Narodowej, nastąpi długo oczekiwana prapremiera monumentalnej Qudsji Zaher Pawła Szymańskiego.
Mając na uwadze obie te wielkie rocznice, jak i gwałtowne przemiany zachodzące w operze najnowszej, redakcja Res Facta Nova zamierza w 2013 roku wydać monograficzny numer częściowo poświęcony nowym ujęciom twórczości Verdiego i Wagnera, częściowo zaś operowym dokonaniom kompozytorów zaliczanych do szeroko rozumianej współczesności. W planowanym przez nas tomie bardzo chętnie zamieścilibyśmy studia dotyczące dzieł scenicznych takich twórców, jak M. van der Aaa, J. Adams, T. Adès, L. Andriessen, G. Aperghis, H. Birtwistle, L. Berio, E. Carter, U. Chin, J. Corigliano, A. Czajkowski, Ch. Czernowin, T. Dun, P. Dusapin, P. Eötvös, B. Ferneyhough, B. Furrer, Ph. Glass, H. Goebbels, O. Golijov, G.F. Haas, J. Harvey, R. Haubenstock-Ramati, H.W. Henze, T. Hosokawa, D. Jaskot, E. Knapik, Z. Krauze, H. Kulenty, H. Lachenmann, B. Lang, G. Ligeti, Ph. Manoury, N. Maw, O. Messiaen, K. Meyer, O. Neuwirth, L. Nono, A. Nowak, M. Nyman, P. Mykietyn, H. Partch, K. Penderecki, E. Poppe, Prasqual, E. Rautavaara, K. Regamey, S. Reich, W. Rihm, K. Saariaho, J.M. Sanchéz-Vérdu, A. Schnittke, S. Sciarrino, E. Sikora, M. Smolka, K. Stockhausen, P. Szymański, M. Tippett, M-A. Turnage, C. Vivier, M. Weinberg, I. Xenakis, A. Zubel. Powyższą listę, mimo jej dużych rozmiarów, i tak należy traktować jako otwartą, a fakt koncentracji naszej uwagi na operowych partyturach nie wyklucza bynajmniej gotowości zamieszczenia tekstów poświęconych estetycznej czy filozoficznej refleksji nad dziewiętnastowieczną i współczesną kondycją „śpiewanego gatunku”.
Zapraszamy zatem Państwa do współtworzenia 14. numeru Res Facta Nova. Prosimy o nadsyłanie w terminie do 31 maja 2012 roku abstraktów (1800-3600 znaków), zawierających również przybliżoną informację na temat objętości planowanych przez Państwa studiów. Nieprzekraczalny termin nadsyłania gotowych tekstów, po uprzednim zakwalifikowaniu przez radę redakcyjną przedłożonych abstraktów (o czym zostaniecie Państwo poinformowani do końca czerwca), wyznaczamy na 31 stycznia 2013 roku.
Abstrakty i teksty prosimy kierować na następujące adresy:
ewa.schreiber@wp.pl
lub marcin.gmys@gmail.com.
W imieniu rady redakcyjnej Res Facta Nova
Ewa Schreiber, sekretarz redakcji
Marcin Gmys, redaktor naczelny
Nowe numery Res Facta Nova
Numer 11 (20) 2010
- E. Tarasti Proust and Wagner
- M. Grabowicz „Discursive syntax” in music. Analysing Beethoven’s „Leonore” Overture no. 3, op. 72/A
- P. Heimonen Concerto Questions
- E. Venn Narrativity in Thomas Adès’s Ecstasio
(84KB) - M. Tomaszewski Życia twórcy punkty węzłowe. Rekonesans.
- M. Janicka-Słysz Karola Szymanowskiego drogi twórczej linia prosta i zakręty
(496KB)
- E. Wójtowicz O związkach życia i dzieła w biografii artystycznej Ludomira Michała Rogowskiego
(76KB)
- E. Siemdaj Na rozdrożu, czyli o twórczości Andrzeja Panufnika
(1480KB)
- R. Chłopicka Przełom lat 60-tych w twórczości Krzysztofa Pendereckiego
(1700KB)
- T. Malecka Henryk Mikołaj Górecki. Styl późny.
(1300KB)
- G. Grisey Muzyka: stawanie się dźwięków (tłum. Justyna Kroschel)
- G. Grisey Strukturowanie barw w muzyce instrumentalnej (tłum. Jagoda Szmytka)
- J. Humięcka-Jakubowska Spektralizm Gérarda Griseya — od natury dźwięku do natury słuchania
(828KB)
- J. Topolski Paradoksy Gérarda Griseya
(106KB)
- K. Kwiatkowski Vortex temporum
(1100KB)
- M. Szoka Federico Garcia Lorca i Georg Crumb. O wspólnocie wyobraźni oraz komplementarności słowa i muzyki
- W. Stępień Przerażający anioł — od poetyckiej figury do mitycznego archetypu. O kompozycjach anielskich Einojuhani Rautavaary
(116KB)
- K. Podrygajło Sonety Szekspira i ich trwanie w muzyce Pawła Mykietyna
(660KB)
- M. Gnatowicz Artysta, szaleniec, kochanek. Autoportret przedstawiciela „sztuki zdegenerowanej”
(88KB)
- E. Hauptman-Fischer Analiza źródłoznawcza Halki Stanisława Moniuszki: hipotezy dotyczące rękopisu WTM627/M
(88KB)
Numer 12 (21) 2011
Studia poświęcone Profesorowi Michałowi Bristigerowi z okazji Jego dziewięćdziesiątych urodzin przez redakcyjnych przyjaciół.
- Od redakcji
- H. Sieradz (oprac.) Wykaz publikacji Michała Bristigera
- P. E. Carapezza Socrate in Polonia
- Socrates in Poland. Michał Bristiger is a versatile and open-minded scholar, cosmopolitan and polyglot: he is thus able to look constantly at complete and up-to-date multiethnic panoramas, compare different cultures, perceiving their substantial specifi cities and the different roles and meanings, in each of them, of similar or even identical elements. From this there derives his ability to discern and connect: exemplary, in the synchronic geographical dimension, are the editorial groups of his journals and the many international conferences organized by him with astute Socratic maieutics in Poland, Austria and Italy; and in the diachronic historical dimension his numerous essays, directly written by him in various languages and published in Europe and America. We could define his philosophical orientation as Socratic, phenomenological and Vichian. He stresses (2004: 2-3) „supra-aesthetic values: ethical, religious, metaphysical, sacral”; he speaks of an „internal and autonomous obligation to take on ourselves our responsibilities for the present state of music and (…) for our musical future” and considers history as sedimentation of layers that „are added on one another and interact”; hence his sunny optimism. With Apollo, the god of music, as a musician he shares the lyre; but also the virtue of paian, that is to say that of the healer: not so much because, before graduating in musicology, he graduated in medicine and surgery, and indeed was a practicing physician; but rather because he heals and cures with music like Apollo, or with philosophy, like Socrates, who deemed philosophy the supreme kind of music, until at the end of his life he realised instead that music was the supreme kind of philosophy. With Socrates he shares positive dialectics, intense dialogue and maieutics in teaching. And he believes that „art and music have a primary role in the creation of the idea of Europe. Of the creative musical process there remain the artistic, aesthetic and supra-aesthetic values, the latter being extremely important in the formation of man.” He is illustrious not only for the wisdom distilled in his discourses, always dense and pregnant but clear and airy, uttered and written by him in many different languages, but also for his capacity to organize meetings and collaborations of people of every language and nation, to connect them and induce them to friendly dialogue. This is manifested – even more than in the many journals, both on paper and on the Internet – in the numerous seminars, meetings, conferences and congresses organized by Michał Bristiger. Exemplary among them, even more than those in institutional places, are the conferences/ summer holidays, which he invented and organized in 1995 and 1996, while he was teaching at the university of Calabria, at Canna and Nocara: the Meetings of Serra Maiori, the latter being the mountain near the Ionian Sea that overhangs those little towns. They were the most remarkable and delightful conferences that I have ever had the fortune to participate in. At the first one, there were fifty participants, at the second one a hundred, coming from fifteen nations on four continents. The topic of these meetings was music, but not only: or, more exactly, music in the broadest sense, both of classical antiquity („In music do you also understand the discourses?”, Socrates asks; „But of course!”, Glauco answers, in the third book of Plato’s Republic), and according to the modern defi nition by John Blacking („the humanly organized Sound”): then poetry too, literature, history, philosophy, theatre, dance; in short, everything that is founded on discourse, verbum, λογος. But above all music strictu sensu, that is to say sound images, produced by composers, realized by singers and players, cheerfully enjoyed by the people present. We lived, in those happy summers, for twelve days, together with those who generously gave us hospitality: we in their houses and music in their churches, which became the living heart of international art and culture in the beautiful valley and in the mythical sea of an earthly paradise; thus pursuing and attaining the purpose of music: both immediate and ephemeral, and mediated and stable, even eschatological. The purpose of music, indeed – as we are taught by Blacking, commented on by Michał Bristiger – is „music itself, while it resounds; ‘the soundly organized humanity’, even when it ceases to resound.” The memory of the Meetings of Serra Maiori remains as the most effective metaphor of Bristiger’s Socratic maieutics: the search for the truth, prompting each person to find it in themselves and to draw it out of their own souls. This pedagogic method, based on the active participation of the people involved, prepares them for dialogue and communication.
- Socrates in Poland. Michał Bristiger is a versatile and open-minded scholar, cosmopolitan and polyglot: he is thus able to look constantly at complete and up-to-date multiethnic panoramas, compare different cultures, perceiving their substantial specifi cities and the different roles and meanings, in each of them, of similar or even identical elements. From this there derives his ability to discern and connect: exemplary, in the synchronic geographical dimension, are the editorial groups of his journals and the many international conferences organized by him with astute Socratic maieutics in Poland, Austria and Italy; and in the diachronic historical dimension his numerous essays, directly written by him in various languages and published in Europe and America. We could define his philosophical orientation as Socratic, phenomenological and Vichian. He stresses (2004: 2-3) „supra-aesthetic values: ethical, religious, metaphysical, sacral”; he speaks of an „internal and autonomous obligation to take on ourselves our responsibilities for the present state of music and (…) for our musical future” and considers history as sedimentation of layers that „are added on one another and interact”; hence his sunny optimism. With Apollo, the god of music, as a musician he shares the lyre; but also the virtue of paian, that is to say that of the healer: not so much because, before graduating in musicology, he graduated in medicine and surgery, and indeed was a practicing physician; but rather because he heals and cures with music like Apollo, or with philosophy, like Socrates, who deemed philosophy the supreme kind of music, until at the end of his life he realised instead that music was the supreme kind of philosophy. With Socrates he shares positive dialectics, intense dialogue and maieutics in teaching. And he believes that „art and music have a primary role in the creation of the idea of Europe. Of the creative musical process there remain the artistic, aesthetic and supra-aesthetic values, the latter being extremely important in the formation of man.” He is illustrious not only for the wisdom distilled in his discourses, always dense and pregnant but clear and airy, uttered and written by him in many different languages, but also for his capacity to organize meetings and collaborations of people of every language and nation, to connect them and induce them to friendly dialogue. This is manifested – even more than in the many journals, both on paper and on the Internet – in the numerous seminars, meetings, conferences and congresses organized by Michał Bristiger. Exemplary among them, even more than those in institutional places, are the conferences/ summer holidays, which he invented and organized in 1995 and 1996, while he was teaching at the university of Calabria, at Canna and Nocara: the Meetings of Serra Maiori, the latter being the mountain near the Ionian Sea that overhangs those little towns. They were the most remarkable and delightful conferences that I have ever had the fortune to participate in. At the first one, there were fifty participants, at the second one a hundred, coming from fifteen nations on four continents. The topic of these meetings was music, but not only: or, more exactly, music in the broadest sense, both of classical antiquity („In music do you also understand the discourses?”, Socrates asks; „But of course!”, Glauco answers, in the third book of Plato’s Republic), and according to the modern defi nition by John Blacking („the humanly organized Sound”): then poetry too, literature, history, philosophy, theatre, dance; in short, everything that is founded on discourse, verbum, λογος. But above all music strictu sensu, that is to say sound images, produced by composers, realized by singers and players, cheerfully enjoyed by the people present. We lived, in those happy summers, for twelve days, together with those who generously gave us hospitality: we in their houses and music in their churches, which became the living heart of international art and culture in the beautiful valley and in the mythical sea of an earthly paradise; thus pursuing and attaining the purpose of music: both immediate and ephemeral, and mediated and stable, even eschatological. The purpose of music, indeed – as we are taught by Blacking, commented on by Michał Bristiger – is „music itself, while it resounds; ‘the soundly organized humanity’, even when it ceases to resound.” The memory of the Meetings of Serra Maiori remains as the most effective metaphor of Bristiger’s Socratic maieutics: the search for the truth, prompting each person to find it in themselves and to draw it out of their own souls. This pedagogic method, based on the active participation of the people involved, prepares them for dialogue and communication.
- M. Tomaszewski Słuchając muzyki Henryka Mikołaja Góreckiego
- Listening to the Music of Henryk Mikołaj Gorecki. An attempt to look upon the artistic path of the recently deceased composer in the perspective of an „eyewitness”: a listener of successive fi rst performances and, also, (in the years 1858-1988) a publisher of his musical works. A short survey, in which the stress has been put on the things that appeared particularly interesting, surprising and meaningful in the compositions of the author of Ad Matrem, Symphony No. 3: Symphony of Sorrowful Songs the quartet Already It Is Dusk. Many facts indicate that, as it was noted before (R. Berger, K. Droba), Gorecki made the gesture of „jumping out of the system”. He consciously abandoned the composition of music for a „festival” stage and in compliance with its unwritten standards. Writing the music based on archetypical values and referring to the original functions of a musical work, Gorecki achieved resonance going far beyond the limited circle of functioning of the modern, avant-garde music. He showed a way out for „high” modern music from a kind of isolation in which it found itself in the former century.
- Listening to the Music of Henryk Mikołaj Gorecki. An attempt to look upon the artistic path of the recently deceased composer in the perspective of an „eyewitness”: a listener of successive fi rst performances and, also, (in the years 1858-1988) a publisher of his musical works. A short survey, in which the stress has been put on the things that appeared particularly interesting, surprising and meaningful in the compositions of the author of Ad Matrem, Symphony No. 3: Symphony of Sorrowful Songs the quartet Already It Is Dusk. Many facts indicate that, as it was noted before (R. Berger, K. Droba), Gorecki made the gesture of „jumping out of the system”. He consciously abandoned the composition of music for a „festival” stage and in compliance with its unwritten standards. Writing the music based on archetypical values and referring to the original functions of a musical work, Gorecki achieved resonance going far beyond the limited circle of functioning of the modern, avant-garde music. He showed a way out for „high” modern music from a kind of isolation in which it found itself in the former century.
- J. Stęszewski Pożyteczne sprzężenie? Stanisława Gąsowskiego Światówki i Zygmunta Krauzego Aus aller Welt stammende. Przyczynek do historii niezwykłego przypadku
(52KB)
- Advantageous Connection? Światowki Stanisław Gąsowski and Aus aller Welt stammende by Zygmunt Krause. A Contribution to the Story of an Extraordinary Case. A composition, being an effect of inspiration by folklore, is generally never presented to the provider of the inspiration. Moreover, it does not become an object of mutual confrontation and evaluation of the folk carrier, Gąsowski and the composer Zygmunt Krauze. The article is devoted to an original, valuable composition by Zygmunt Krauze Aus aller Welt stammende (światowka). It is stated in the conclusion that a folk musician representing two circles of musical-cultural – localfolk experience, and professional – has diffi culty accepting the manner in which the composer treated his/her folk tradition, although their opinion need not be well-founded, nevertheless, it is a signal that the axiological and musical-technical lack of deference manifested by composers, scholars and proponents of the movement around the „second” or „new tradition”, including the editors of the media, should become a sphere of in-depth analyses and critical refl ection. One example from before more than 150 years, confi rming that the problem is not new, is the opinion expressed by Fryderyk Chopin about the study entitled Pieśni ludu polskiego [„The Songs of Polish Folk”] (1942-1847) by Oskar Kolberg.
- Advantageous Connection? Światowki Stanisław Gąsowski and Aus aller Welt stammende by Zygmunt Krause. A Contribution to the Story of an Extraordinary Case. A composition, being an effect of inspiration by folklore, is generally never presented to the provider of the inspiration. Moreover, it does not become an object of mutual confrontation and evaluation of the folk carrier, Gąsowski and the composer Zygmunt Krauze. The article is devoted to an original, valuable composition by Zygmunt Krauze Aus aller Welt stammende (światowka). It is stated in the conclusion that a folk musician representing two circles of musical-cultural – localfolk experience, and professional – has diffi culty accepting the manner in which the composer treated his/her folk tradition, although their opinion need not be well-founded, nevertheless, it is a signal that the axiological and musical-technical lack of deference manifested by composers, scholars and proponents of the movement around the „second” or „new tradition”, including the editors of the media, should become a sphere of in-depth analyses and critical refl ection. One example from before more than 150 years, confi rming that the problem is not new, is the opinion expressed by Fryderyk Chopin about the study entitled Pieśni ludu polskiego [„The Songs of Polish Folk”] (1942-1847) by Oskar Kolberg.
- E. Tarasti World and its interpretation
- M. Jabłoński The integrity and interpretation. Some remarks on philosophical musicology
(76KB)
- A. Jarzębska Model dyskursu o muzyce w ujęciu Philipa Tagga
(68KB)
- A Model of Discourse About Music As Presented by Philip Tagg. Musicological discourse about music has been dominated by a three-part pattern: composer (poietic process) – musical work (neutral level) – listener (aesthetic experience) suggesting the possibility of a „neutral”, quasi-objective discussion about a musical work and separating it from a listener and his/her „subjectivity”. A dynamic development of cognitivistics, observed in the recent years and termed as „a cognitive revolution”, brought „the human factor” – i.e., a subject equipped in the universal, cognitive and emotional mechanisms and living in a community accepting a defined system of values-into the centre of studies of the contemporary humanities. This departure from a positivistic paradigm in psychology, linguistics and other human sciences was an inspiration for the search of a new model concerning the discourse in music. An interesting example of this transformation can be the model of musical communication proposed by the Canadian musicologist Philip Tagg in his work Introductory Notes to the Semiotics of Music (1999). The model of Tagg, which draws a division between transmitter – channel – receiver, although referring to the above-mentioned three-part pattern by Jean-Jacques Nattiez, emphasises the „human factor”: auditory experience and its mental representation as well as the need to „interpret” it in the context of a given culture. According to Tagg, the fundamental problem of musical communication is codal incompetence and/or codal interference, that is incorrect reading of the message intended by the composer, which is influenced both by the cultural incompetence within a framework of a particular store of symbols, and also, preference by the composer or the receivers of his/her music for a different system of values or social and cultural norms (sociocultural norms). The model of Tagg and the ponderings of Roger Scruton, underlying the need for continuation of the so-called high culture (comp. Culture Counts, Faith and Feeling in the World Besieged, 2007), may be the inspiration for re-evaluation of the positivistic approach in musicological studies and the formulation of such principles of discourse in music that combine the rigour and discipline of logical thinking with knowledge about the results of studies conducted by cognitive psychologists and non-cultural, musical, universal qualities, take into consideration the possibility of diverse interpretation of music due to codal incompetence or codal interference, but at the same time refer to some kind of a paradigm of perfection connecting „aesthetic interests” with universal ethical norms.
- A Model of Discourse About Music As Presented by Philip Tagg. Musicological discourse about music has been dominated by a three-part pattern: composer (poietic process) – musical work (neutral level) – listener (aesthetic experience) suggesting the possibility of a „neutral”, quasi-objective discussion about a musical work and separating it from a listener and his/her „subjectivity”. A dynamic development of cognitivistics, observed in the recent years and termed as „a cognitive revolution”, brought „the human factor” – i.e., a subject equipped in the universal, cognitive and emotional mechanisms and living in a community accepting a defined system of values-into the centre of studies of the contemporary humanities. This departure from a positivistic paradigm in psychology, linguistics and other human sciences was an inspiration for the search of a new model concerning the discourse in music. An interesting example of this transformation can be the model of musical communication proposed by the Canadian musicologist Philip Tagg in his work Introductory Notes to the Semiotics of Music (1999). The model of Tagg, which draws a division between transmitter – channel – receiver, although referring to the above-mentioned three-part pattern by Jean-Jacques Nattiez, emphasises the „human factor”: auditory experience and its mental representation as well as the need to „interpret” it in the context of a given culture. According to Tagg, the fundamental problem of musical communication is codal incompetence and/or codal interference, that is incorrect reading of the message intended by the composer, which is influenced both by the cultural incompetence within a framework of a particular store of symbols, and also, preference by the composer or the receivers of his/her music for a different system of values or social and cultural norms (sociocultural norms). The model of Tagg and the ponderings of Roger Scruton, underlying the need for continuation of the so-called high culture (comp. Culture Counts, Faith and Feeling in the World Besieged, 2007), may be the inspiration for re-evaluation of the positivistic approach in musicological studies and the formulation of such principles of discourse in music that combine the rigour and discipline of logical thinking with knowledge about the results of studies conducted by cognitive psychologists and non-cultural, musical, universal qualities, take into consideration the possibility of diverse interpretation of music due to codal incompetence or codal interference, but at the same time refer to some kind of a paradigm of perfection connecting „aesthetic interests” with universal ethical norms.
- H. Geyer „Natura non fecit saltus” – Musik, Ausdruck, Permutaton – ein „Sein Werden” – Zeugnisse zu Bruno Madernas Streichquartett in 2 Sätzen, 1955
(72KB)
- Natura non fecit saltus. Bruno Maderna’s quartet for strings, written for Darmstadt in 1955, is estimated as one of the outstanding examples of modernity. A scrupulous analysis did explore the techniques of the composition, whereas, possibly very deep, philosophical background still remained quite unexplored. A hitherto unknown letter by Berio to Malipiero, preserved in the Malipiero-Archives in Venice, opens a wider discussion about possibly the fundamental ideas of philosophy and approach to music and art, which seems to be connected with the composition of this string quartet. The crucial ideal seems to be not only the phenomenon of different variants of silence, but also the ideal of permanent development, the „positive revolution en permanence”. Therefore other documents by Berio, Nono and Maderna himself are discussed and presented to demonstrate a wide-ranging artistic discussion which involved a group of artists, not only musicians, in the early 1950s in Venice being partly in contradiction to the ideas of the Darmstadt group. This concerns a long duree of philosophical argumentation and implication, which runs back to antiquity and the connection with the past, in this case, the past of the great traditions of the (Venetian) Renaissance and Humanism untill the early Baroque.
- Natura non fecit saltus. Bruno Maderna’s quartet for strings, written for Darmstadt in 1955, is estimated as one of the outstanding examples of modernity. A scrupulous analysis did explore the techniques of the composition, whereas, possibly very deep, philosophical background still remained quite unexplored. A hitherto unknown letter by Berio to Malipiero, preserved in the Malipiero-Archives in Venice, opens a wider discussion about possibly the fundamental ideas of philosophy and approach to music and art, which seems to be connected with the composition of this string quartet. The crucial ideal seems to be not only the phenomenon of different variants of silence, but also the ideal of permanent development, the „positive revolution en permanence”. Therefore other documents by Berio, Nono and Maderna himself are discussed and presented to demonstrate a wide-ranging artistic discussion which involved a group of artists, not only musicians, in the early 1950s in Venice being partly in contradiction to the ideas of the Darmstadt group. This concerns a long duree of philosophical argumentation and implication, which runs back to antiquity and the connection with the past, in this case, the past of the great traditions of the (Venetian) Renaissance and Humanism untill the early Baroque.
- A. Tenczyńska Projekt „lektury muzykologicznej” polskiej poezji dwudziestowiecznej
(44KB)
- A Project of ”Musicological Reading” of Polish 20th-Century Poetry. Edward Balcerzan noticed a certain tendency in Polish postwar poetry which he termed as „musicological”- it with a „musical” tendency, typical of the literature of three first decades the 20th century-and traced its roots to the Romantic idea of correspondance des arts. In way, he characterised the process in which the aspiration to develop musicality of a poem on basis of supra-organization of its prosodic level turned into the search for references to the aspects of music at the structural level of poetic utterance. In the opinion of the scholar, references of this kind imply a particular manner of reception of a literary text, requiring the musicological knowledge and terminology. The project of this „musicological reading”, just roughly sketched by the author of Poezja jako semiotyka sztuki on the margin of considerations about postwar poetry, constitutes a primary point of departure for the scientific proposal put forward by the author of the article, who suggests to develop it in the theoretical and methodological dimension, and, first of all, to broaden its historical framework by the poetry of the first half of the 20th century.
- A Project of ”Musicological Reading” of Polish 20th-Century Poetry. Edward Balcerzan noticed a certain tendency in Polish postwar poetry which he termed as „musicological”- it with a „musical” tendency, typical of the literature of three first decades the 20th century-and traced its roots to the Romantic idea of correspondance des arts. In way, he characterised the process in which the aspiration to develop musicality of a poem on basis of supra-organization of its prosodic level turned into the search for references to the aspects of music at the structural level of poetic utterance. In the opinion of the scholar, references of this kind imply a particular manner of reception of a literary text, requiring the musicological knowledge and terminology. The project of this „musicological reading”, just roughly sketched by the author of Poezja jako semiotyka sztuki on the margin of considerations about postwar poetry, constitutes a primary point of departure for the scientific proposal put forward by the author of the article, who suggests to develop it in the theoretical and methodological dimension, and, first of all, to broaden its historical framework by the poetry of the first half of the 20th century.
- E. Schreiber Metafora jako figura muzyczna. Przegląd stanowisk
(84KB)
- Metaphor As a Musical Figure. Overview of Opinions. The text is an attempt to present, confront and critically analyse the opinions concerning the use of the concept of metaphor with reference to music. Sceptical opinions stem from the conviction that the notion of metaphor is strictly connected with qualities of language (Krzysztof Guczalski, Steven C. Krantz). The advocates of such notion try to point out such elements of metaphor that can also describe the qualities of music. Each of the scholars reckons some other features of this figure to be most significant. The authors demonstrate also great dependence from a selected theory of metaphor and from the context of studies: semantics (Carl R. Hausman, Robert Hatten), cognitive linguistics (Nicholas Cook, Lawrence Zbikowski) or structuralism (Craig Ayrey). Referring the elements of metaphor to music adopts various forms depending on the authors’ opinions on the issue of musical meaning. In each of the mentioned cases the key question remains, that is whether the model of metaphor introduces into the analysis of music something that, in other situation, couldn’t be made apparent.
- Metaphor As a Musical Figure. Overview of Opinions. The text is an attempt to present, confront and critically analyse the opinions concerning the use of the concept of metaphor with reference to music. Sceptical opinions stem from the conviction that the notion of metaphor is strictly connected with qualities of language (Krzysztof Guczalski, Steven C. Krantz). The advocates of such notion try to point out such elements of metaphor that can also describe the qualities of music. Each of the scholars reckons some other features of this figure to be most significant. The authors demonstrate also great dependence from a selected theory of metaphor and from the context of studies: semantics (Carl R. Hausman, Robert Hatten), cognitive linguistics (Nicholas Cook, Lawrence Zbikowski) or structuralism (Craig Ayrey). Referring the elements of metaphor to music adopts various forms depending on the authors’ opinions on the issue of musical meaning. In each of the mentioned cases the key question remains, that is whether the model of metaphor introduces into the analysis of music something that, in other situation, couldn’t be made apparent.
- R. J. Wieczorek Florenckie canti carnascialeschi: między rytuałem a muzyką
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- Poetry Florentine canti carnascialeschi: Between Ritual and Music. Since the end of the 1960s, when the writings of Mikhail Bakhtin found profound resonance in the Western scholarly circles, the thinking about carnival has been dominated by carnivalization. This notion became a universal tool in the analysis of all kinds of phenomena from the sphere of modern culture which remained outside the realm of offi cial or high culture. However, in the early modern Europe Pre-Lenten carnival sensu stricto did not constitute any spontaneous, sudden spurt, revolt or contestation of the offi cial festivities organized by the ruling class. Conversely, it was a series of carefully planned events, requiring long-term preparations and expenditures. The subject of the article are Florentine carnival rituals at the height of popularity of canti carnascialeschi – i.e., the last three decades of the 15th century and the first two decades of the 16th century. It is impossible nowadays to understand the role the music played in the carnival without knowing the character of those rituals. The preserved texts of canti carnasicaleschi provide important documentation of the Florentine carnival rituals. The central motif of those songs are sexual symbols, expressed in more or less veiled manner. The majority of them includes specific terminology for various trades (names of products, requisites or equipment), enabling the poets to get away with the use of the lexis explicitly invoking associations with the erotic sphere. Consequently, the patrons of canti carnascialeschi should not be looked for among the Florentine trade groups but rather among young representatives of patrician families, who, at the close of the 15th c. was Lorenzo de’Medici, and at the beginning of the 16th century – the brothers Lorenzo and Filippo Strozzi.
- Poetry Florentine canti carnascialeschi: Between Ritual and Music. Since the end of the 1960s, when the writings of Mikhail Bakhtin found profound resonance in the Western scholarly circles, the thinking about carnival has been dominated by carnivalization. This notion became a universal tool in the analysis of all kinds of phenomena from the sphere of modern culture which remained outside the realm of offi cial or high culture. However, in the early modern Europe Pre-Lenten carnival sensu stricto did not constitute any spontaneous, sudden spurt, revolt or contestation of the offi cial festivities organized by the ruling class. Conversely, it was a series of carefully planned events, requiring long-term preparations and expenditures. The subject of the article are Florentine carnival rituals at the height of popularity of canti carnascialeschi – i.e., the last three decades of the 15th century and the first two decades of the 16th century. It is impossible nowadays to understand the role the music played in the carnival without knowing the character of those rituals. The preserved texts of canti carnasicaleschi provide important documentation of the Florentine carnival rituals. The central motif of those songs are sexual symbols, expressed in more or less veiled manner. The majority of them includes specific terminology for various trades (names of products, requisites or equipment), enabling the poets to get away with the use of the lexis explicitly invoking associations with the erotic sphere. Consequently, the patrons of canti carnascialeschi should not be looked for among the Florentine trade groups but rather among young representatives of patrician families, who, at the close of the 15th c. was Lorenzo de’Medici, and at the beginning of the 16th century – the brothers Lorenzo and Filippo Strozzi.
- B. Przybyszewska-Jarmińska O muzycznych i teatralnych doświadczeniach Michała Kazimierza Radziwiłła podczas jego pobytu w Italii w latach 1677-1678 raz jeszcze
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- On Musical and Theatrical Experiences of Michał Kazimierz Radziwiłł During His Stay in Italy in the Years 1677-1678 Once Again. Duke Michał Kazimierz Radziwiłł and his wife Katarzyna, sister of the Polish king Jan III Sobieski, between 1677 and 1678 made a journey to Rome stopping longer in Venice where they participated in the opera season. This event was discussed by Alojzy Sajkowski (in the publications from 1969 and 1973) and Zbigniew Chaniecki (2005) who based their texts on a written account (Diariusz) Teodor Billewicz who travelled with the Radziwiłłs. In March 1678, in honour of the guests from Poland, the oratorio S. Casimiro Prencipe reale di Polonia performed in Chiesa Nuova in Rome, the text of which was composed by Ottavio Santacroce and the music most likely by Giovanni Bicilli (those facts were studied by Arnaldo Morelli – in the papers published in 1986, 1991, 1994 – and Anna Ryszka-Komarnicka – in the publications from the beginning of the 21stcentury). The article presents the circumstances of the peregrination of the Radziwiłłs in the years 1677-1678 as well as the following trip of Michał Kazimierz Radziwiłł (without his wife) to Rome (in the years 1679-1680) when the duke, acting on behalf of the king as an obedience envoy, made a splendid entry into the Eternal City and died on his way back (in Bologna, in November 1680). Owing to the most recent studies concerning the chronology of the Venetian operas (among others by Eleanor Selfridge-Field, 2007) a defi nite or probable identifi cation was carried of drammi permusica, which Radziwiłł together with his wife watched in December 1677 and January 1678 in Venice. Drawing upon Diariusz Billewicz which has recently been made public in the form of an edition (Marek Kunicki-Goldfi nger, 2004), as well as from avvisi that period stored in Rome (Archivio Segreto Vaticano, Archivio di Stato, Biblioteca Apostolica Vaticana) other musical attractions during their journey were pointed out, and, on the basis of the bills preserved in Archiwum Głowne Akt Dawnych (Central Archives of Historical Records) in Warsaw, the surnames or first names of Italian musicians who had earned the gratitude of Radziwiłł were given as well as the information about the opera and the mass which were copied for him in Venice.
- On Musical and Theatrical Experiences of Michał Kazimierz Radziwiłł During His Stay in Italy in the Years 1677-1678 Once Again. Duke Michał Kazimierz Radziwiłł and his wife Katarzyna, sister of the Polish king Jan III Sobieski, between 1677 and 1678 made a journey to Rome stopping longer in Venice where they participated in the opera season. This event was discussed by Alojzy Sajkowski (in the publications from 1969 and 1973) and Zbigniew Chaniecki (2005) who based their texts on a written account (Diariusz) Teodor Billewicz who travelled with the Radziwiłłs. In March 1678, in honour of the guests from Poland, the oratorio S. Casimiro Prencipe reale di Polonia performed in Chiesa Nuova in Rome, the text of which was composed by Ottavio Santacroce and the music most likely by Giovanni Bicilli (those facts were studied by Arnaldo Morelli – in the papers published in 1986, 1991, 1994 – and Anna Ryszka-Komarnicka – in the publications from the beginning of the 21stcentury). The article presents the circumstances of the peregrination of the Radziwiłłs in the years 1677-1678 as well as the following trip of Michał Kazimierz Radziwiłł (without his wife) to Rome (in the years 1679-1680) when the duke, acting on behalf of the king as an obedience envoy, made a splendid entry into the Eternal City and died on his way back (in Bologna, in November 1680). Owing to the most recent studies concerning the chronology of the Venetian operas (among others by Eleanor Selfridge-Field, 2007) a defi nite or probable identifi cation was carried of drammi permusica, which Radziwiłł together with his wife watched in December 1677 and January 1678 in Venice. Drawing upon Diariusz Billewicz which has recently been made public in the form of an edition (Marek Kunicki-Goldfi nger, 2004), as well as from avvisi that period stored in Rome (Archivio Segreto Vaticano, Archivio di Stato, Biblioteca Apostolica Vaticana) other musical attractions during their journey were pointed out, and, on the basis of the bills preserved in Archiwum Głowne Akt Dawnych (Central Archives of Historical Records) in Warsaw, the surnames or first names of Italian musicians who had earned the gratitude of Radziwiłł were given as well as the information about the opera and the mass which were copied for him in Venice.
- I. Poniatowska Ikoniczny wizerunek Beethovena w polskiej poezji
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- Iconic Image of Beethoven in Polish Poetry. The reception of Beethoven in German literature has been presented by H. H. Eggebrecht in Zur Geschichte de Beethoven Rezeption (1972). Its core (”nucleus”) and semantic fi elds have basically unchanged. The „superficial” reception, in turn, stemming from individual feelings, generational and historical differences, from differences between cultures is constantly, although it embraces also some elements of the said nucleus, which Eggebrecht brought to 3 categories: suffering, will and surpassing diffi culties – all determined by a unified of life and musical output of Beethoven. The study presented is an attempt at confrontation of the abovementioned iconic image of Beethoven throughout almost 200-year-long reception with the feeling of a poet – a Polish poet. In the 19th century J. Łuszczewska (Deotyma) honoured the 100th birthday anniversary of the composer with a poem in the form of a dialogue entitled Symfonia („Symphony”), which was staged in Teatr Wielki (Grand Theatre) in Warsaw. Also K. Ujejski illustrated Beethoven’s compositions with verse. In the 20th century, in turn, there appeared an entire pleiad of poets who devoted their poetical verses to Beethoven such as Z. Herbert, W. Wirpsza, A. Zagajewski. Opolskie Towarzystwo Muzyczne (Musical Society in Opole) issued simple copies of a collection of 18 poems, among others by Hulewicz, Gałczyński, Baczyński, Iwaszkiewicz. The poems include the aforementioned symbols of pain, inner strength, immortality of Beethoven’s art as a constant value, but also the love of nature and life in general. A typical Polish ideological quality is the association of that idealized, heroic image of Beethoven with the Polish history and struggle of the nation.
- Iconic Image of Beethoven in Polish Poetry. The reception of Beethoven in German literature has been presented by H. H. Eggebrecht in Zur Geschichte de Beethoven Rezeption (1972). Its core (”nucleus”) and semantic fi elds have basically unchanged. The „superficial” reception, in turn, stemming from individual feelings, generational and historical differences, from differences between cultures is constantly, although it embraces also some elements of the said nucleus, which Eggebrecht brought to 3 categories: suffering, will and surpassing diffi culties – all determined by a unified of life and musical output of Beethoven. The study presented is an attempt at confrontation of the abovementioned iconic image of Beethoven throughout almost 200-year-long reception with the feeling of a poet – a Polish poet. In the 19th century J. Łuszczewska (Deotyma) honoured the 100th birthday anniversary of the composer with a poem in the form of a dialogue entitled Symfonia („Symphony”), which was staged in Teatr Wielki (Grand Theatre) in Warsaw. Also K. Ujejski illustrated Beethoven’s compositions with verse. In the 20th century, in turn, there appeared an entire pleiad of poets who devoted their poetical verses to Beethoven such as Z. Herbert, W. Wirpsza, A. Zagajewski. Opolskie Towarzystwo Muzyczne (Musical Society in Opole) issued simple copies of a collection of 18 poems, among others by Hulewicz, Gałczyński, Baczyński, Iwaszkiewicz. The poems include the aforementioned symbols of pain, inner strength, immortality of Beethoven’s art as a constant value, but also the love of nature and life in general. A typical Polish ideological quality is the association of that idealized, heroic image of Beethoven with the Polish history and struggle of the nation.
- M. Gmys Między Wagnerem a Verdim: I Medici Ruggiera Leoncavalla
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- Between Wagner and Verdi: I Medici by Ruggiero Leoncavallo. The author discusses a forgotten opera by Ruggiero Leoncavallo I Medici, written around 1880 (world premiere 1893), which the Italian conductor Alberto Veronesi together with Placido Domingo (performer of one of the main roles) decided to bring back to general awareness. The composition provides an interesting proof of the Italian reception of Wagner, mingling with the „obvious” influences of the works of Verdi, especially from „the period of Rigoletto”. The opera, quite faithfully „describing” the development of the Pazzi’s plot against the Medici, was originally thought as the first part of the never fi nished historical trilogy Crepusculum , which was supposed to be the Italian „anti-tetralogy” (the title Crepusculum to Twilight of the Gods). I Medici, in many fragments indicating strong influence of Wagner (especially with regard to instrumentation, but also to the used motifs, to recall, for instance, the fact of adoption of the leitmotif of longing from Tristan and Isolda), was patronized by Giosue Carducci – mentioned by Leoncavallo in the score of the opera – an eminent Bolognese thinker and spiritus movens the „Wagnerian craze” in Italy. I Medici, along with a simultaneously published symphonic poem May Night, show a new aspect of Leoncavallo, a composer, who, at least in the period of his youth, boldly experimented with musical styles as well as existing musical genres.
- Between Wagner and Verdi: I Medici by Ruggiero Leoncavallo. The author discusses a forgotten opera by Ruggiero Leoncavallo I Medici, written around 1880 (world premiere 1893), which the Italian conductor Alberto Veronesi together with Placido Domingo (performer of one of the main roles) decided to bring back to general awareness. The composition provides an interesting proof of the Italian reception of Wagner, mingling with the „obvious” influences of the works of Verdi, especially from „the period of Rigoletto”. The opera, quite faithfully „describing” the development of the Pazzi’s plot against the Medici, was originally thought as the first part of the never fi nished historical trilogy Crepusculum , which was supposed to be the Italian „anti-tetralogy” (the title Crepusculum to Twilight of the Gods). I Medici, in many fragments indicating strong influence of Wagner (especially with regard to instrumentation, but also to the used motifs, to recall, for instance, the fact of adoption of the leitmotif of longing from Tristan and Isolda), was patronized by Giosue Carducci – mentioned by Leoncavallo in the score of the opera – an eminent Bolognese thinker and spiritus movens the „Wagnerian craze” in Italy. I Medici, along with a simultaneously published symphonic poem May Night, show a new aspect of Leoncavallo, a composer, who, at least in the period of his youth, boldly experimented with musical styles as well as existing musical genres.
- M. Woźna-Stankiewicz Pierwsza podróż Zdzisława Jachimeckiego do Italii
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- First Journey of Zdzisław Jachimecki to Italy. With his habilitation thesis entitled „Italian Influences in Polish Music”, published in 1911 in Cracow, Zdzisław Jachimecki initiated complex studies in Polish musicology into the Polish-Italian musical relationships. For the first time in Italy, he presented the results of his research (the lecture entitled L’italianita e gl’italiani nella musica polacca 1424-1924) in the period between December 1924 and March 1925 at the universities in Rome, Padua, Florence and Bologna and the Venetian Ateneo Veneto. The plan of travelling to Italy appeared for the first time around 19 May 1903 when Karol Lanckoroński, following his return to Vienna from Rome, put forward an idea of a joint stay with Jachimecki at Lago Maggiore through July and August 1903. The student of musicology at Vienna University since December 1902, also worked part-time with Karol Lanckoroński as his secretary, and since 1903 also as the tutor of the Polish language of the count’s son, Antoni. The plans of this Italian holiday never materialized. The route of the first Italian journey of Z. Jachimecki in 1908 included: Venice (16-20 April), Ferrara (20-22 April), Florence (22-28 April) and Bologna (28-29 April). The trip was preceded by the first short meeting of the young musicologist with Karol Szymanowski (also returning from his first trip to Italy) at the railway station in Cracow on 12 April 1908. Jachimecki spent three successive days (13-15 April) in Vienna, among others, visiting Karl Horwitz and Egon Wellesz, his friends from studies with Guido Adler and Arnold Schonberg. The details of that stay and the impressions of Zdzisław concerning the Italian towns, their historical monuments as well as the collections of famous galleries of painting have been described on the basis of accounts contained in unpublished letters of Z. Jachimecki to his fiancee - Zofia Godzicka. The original lone journey of 25-year old Z. Jachimecki to Italy was undertaken four months before his wedding with 22-year old Zofia, which took place in Cracow in the Church of SS. Peter and Paul on September 7, 1908. Mr and Mrs Jachimecki started their first joint journey to Italy in the summer of 1910.
- First Journey of Zdzisław Jachimecki to Italy. With his habilitation thesis entitled „Italian Influences in Polish Music”, published in 1911 in Cracow, Zdzisław Jachimecki initiated complex studies in Polish musicology into the Polish-Italian musical relationships. For the first time in Italy, he presented the results of his research (the lecture entitled L’italianita e gl’italiani nella musica polacca 1424-1924) in the period between December 1924 and March 1925 at the universities in Rome, Padua, Florence and Bologna and the Venetian Ateneo Veneto. The plan of travelling to Italy appeared for the first time around 19 May 1903 when Karol Lanckoroński, following his return to Vienna from Rome, put forward an idea of a joint stay with Jachimecki at Lago Maggiore through July and August 1903. The student of musicology at Vienna University since December 1902, also worked part-time with Karol Lanckoroński as his secretary, and since 1903 also as the tutor of the Polish language of the count’s son, Antoni. The plans of this Italian holiday never materialized. The route of the first Italian journey of Z. Jachimecki in 1908 included: Venice (16-20 April), Ferrara (20-22 April), Florence (22-28 April) and Bologna (28-29 April). The trip was preceded by the first short meeting of the young musicologist with Karol Szymanowski (also returning from his first trip to Italy) at the railway station in Cracow on 12 April 1908. Jachimecki spent three successive days (13-15 April) in Vienna, among others, visiting Karl Horwitz and Egon Wellesz, his friends from studies with Guido Adler and Arnold Schonberg. The details of that stay and the impressions of Zdzisław concerning the Italian towns, their historical monuments as well as the collections of famous galleries of painting have been described on the basis of accounts contained in unpublished letters of Z. Jachimecki to his fiancee - Zofia Godzicka. The original lone journey of 25-year old Z. Jachimecki to Italy was undertaken four months before his wedding with 22-year old Zofia, which took place in Cracow in the Church of SS. Peter and Paul on September 7, 1908. Mr and Mrs Jachimecki started their first joint journey to Italy in the summer of 1910.
- J. Guzy-Pasiak Emigracja w perspektywie postkolonialnej. Wybrane problemy twórczości polskich kompozytorów emigracyjnych: Karola Rathausa i Ludomira Michała Rogowskiego
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- Emigration in Postcolonial Perspective. Selected Problems Concerning the Compositions of Emigrational Composers: Karol Rathaus and Ludomir Michał Rogowski. The text analyses the possibilities of adoption of a post-colonial perspective in the studies of composer’s works, with a provision that the culture is not a neutral zone neither in political nor historical sense. Colonization, broadly understood as any form of domination, exerts influence upon the contents and the form of art works, thus the purpose of post-colonial studies into the artistic output is to describe the mechanisms of power visible in that production. Music, aesthetics and the history of two Polish composers in emigration in the first half of the 20th century, whose reasons to leave the country and the artistic choices made while abroad were quite different: Karol Rathaus (1895-1954) and Ludomir Michał Rogowski (1882-1954), were taken into account as examples of practical application of theory, more widespread in the field of social sciences and literary studies than musicology.
- Emigration in Postcolonial Perspective. Selected Problems Concerning the Compositions of Emigrational Composers: Karol Rathaus and Ludomir Michał Rogowski. The text analyses the possibilities of adoption of a post-colonial perspective in the studies of composer’s works, with a provision that the culture is not a neutral zone neither in political nor historical sense. Colonization, broadly understood as any form of domination, exerts influence upon the contents and the form of art works, thus the purpose of post-colonial studies into the artistic output is to describe the mechanisms of power visible in that production. Music, aesthetics and the history of two Polish composers in emigration in the first half of the 20th century, whose reasons to leave the country and the artistic choices made while abroad were quite different: Karol Rathaus (1895-1954) and Ludomir Michał Rogowski (1882-1954), were taken into account as examples of practical application of theory, more widespread in the field of social sciences and literary studies than musicology.
- J. Stankiewicz Ile wykonań Kwartet na koniec Czasu Oliviera Messiaena odbyło się w Stalagu VIII A w Gorlitz? Nowe fakty i hipotezy 70 lat później
- How Many Performances of Quartet for the End of Time by Olivier Messiaen Were Given in Stalag VIII A in Gorlitz? New Facts and Hypotheses 70 Years Later. In the musicological literature devoted to Olivier Messiaen the fact of composing the Quartet for the End of Time Stalag VIII A in Gorlitz is generally known, the composition considered as the achievement of chamber music of the 20th century. Also known are the facts regarding legendary premiere of the Quartet took place in Stalag VII A on 15 January 1941, vividly by the composer and three performers of that concert: a violinist Jean (Eugene) Le, a clarinettist Henri Akoki and a cellist Pierre Pasquier. However, neither the early fundamental on the musical works of Messiaen (Antoine Golea, Pierrette Mari, Claude Samuel, Halbreich), nor the most recent monographs (Rebecca Rischin, Anthony Pople, Peter and Nigel Simeon) inform about the fact that not yet finished Quartet performed before official premiere in the Stalag by Polish artists, cadets – the prisoners of war, during the „Polish ”, in mid-December 1940. They combined the performance of the five parts of the Quartet a recitation in Polish of 13 poems by Zdzisław Nardelli, including the one entitled Otchłań ptakow. That such „Polish Evening” took place is evidenced not only by the accounts of its and the audience (Zdzisław Nardelli, Bohdan Samulski, Antoni Śliwiński, Świętosławiński and others – a circle of Polish artists and intellectuals who were together with Messiaen the prisoners-of-war camp), but also by the programme of that evening in manuscript n by Śliwiński and made accessible to the general public in 1983 in Cracow. It is a unique – published here - and unknown to the researchers studying the Messiaen’s musical . The eight participants and organizers put their signatures on that programme, among the signature of Messiaen is visible. Moreover, in that programme the „Polish Evening” is the name Otchłań ptakow, that is identical with the third solo part for clarinet in the Quartet for the End of Time, which may suggest the influence of Nardelli upon the artistic output of Messiaen or the opposite. The discovery of this archival programme sheds different light on the official premiere of the Quartet, ordered later by the German camp’s authorities, the organization of which was facilitated by „Polish Evening”. Thus we can say today that the premiere concert of the Quartet for the End of Time Stalag VIII A in Gorlitz in 1941 was not the only presentation of this composition in the camp.
- How Many Performances of Quartet for the End of Time by Olivier Messiaen Were Given in Stalag VIII A in Gorlitz? New Facts and Hypotheses 70 Years Later. In the musicological literature devoted to Olivier Messiaen the fact of composing the Quartet for the End of Time Stalag VIII A in Gorlitz is generally known, the composition considered as the achievement of chamber music of the 20th century. Also known are the facts regarding legendary premiere of the Quartet took place in Stalag VII A on 15 January 1941, vividly by the composer and three performers of that concert: a violinist Jean (Eugene) Le, a clarinettist Henri Akoki and a cellist Pierre Pasquier. However, neither the early fundamental on the musical works of Messiaen (Antoine Golea, Pierrette Mari, Claude Samuel, Halbreich), nor the most recent monographs (Rebecca Rischin, Anthony Pople, Peter and Nigel Simeon) inform about the fact that not yet finished Quartet performed before official premiere in the Stalag by Polish artists, cadets – the prisoners of war, during the „Polish ”, in mid-December 1940. They combined the performance of the five parts of the Quartet a recitation in Polish of 13 poems by Zdzisław Nardelli, including the one entitled Otchłań ptakow. That such „Polish Evening” took place is evidenced not only by the accounts of its and the audience (Zdzisław Nardelli, Bohdan Samulski, Antoni Śliwiński, Świętosławiński and others – a circle of Polish artists and intellectuals who were together with Messiaen the prisoners-of-war camp), but also by the programme of that evening in manuscript n by Śliwiński and made accessible to the general public in 1983 in Cracow. It is a unique – published here - and unknown to the researchers studying the Messiaen’s musical . The eight participants and organizers put their signatures on that programme, among the signature of Messiaen is visible. Moreover, in that programme the „Polish Evening” is the name Otchłań ptakow, that is identical with the third solo part for clarinet in the Quartet for the End of Time, which may suggest the influence of Nardelli upon the artistic output of Messiaen or the opposite. The discovery of this archival programme sheds different light on the official premiere of the Quartet, ordered later by the German camp’s authorities, the organization of which was facilitated by „Polish Evening”. Thus we can say today that the premiere concert of the Quartet for the End of Time Stalag VIII A in Gorlitz in 1941 was not the only presentation of this composition in the camp.
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