Archiwum indeks numerów

Archiwum Res Facta

Numer 01 (1967)

Numer 02 (1968)

Numer 03 (1969)

Numer 04 (1970)

Numer 05 (1971)

Numer 06 (1972)

Numer 07 (1973)

  • E. Bieńkowska (Wydział Nauk Humanistycznych Uniwersytetu Kardynała Stefana Wyszyńskiego w Warszawie) Prezentacja Ricoeura
  • P. Ricoeur Symbol daje do myślenia
  • R. Przybylski Mandelsztam i muzyka
  • O. Mandelsztam Puszkin i Skriabin
  • H. H. Eggebrecht Uwagi o metodzie analizy muzycznej
  • T. Kneif Prolegomena do estetyki muzycznej
  • C. Debussy Zagłada domu Usherów, Diabeł w dzwonnicy
  • L. Rappoport Notatki o twórczości Sergiusza Słonimskiego
  • W. Szalonek O nie wykorzystanych walorach sonorystycznych instrumentów dętych drewnianych
  • H. Sabbe O związku pomiędzy kreacją tekstu słownego i muzycznego w kompozycji wokalnej
  • J. Chołopow „Modi o ograniczonej transpozycji” w teoretycznych koncepcjach Messiaena i Jaworowskiego
  • O. Messiaen Technika mojego języka muzycznego

Numer 08 (1977)

Numer 09 (1982)

  • S. Jarociński 16 VIII 1912 – 8 V 1980 Od redakcji
  • M. Tomaszewski Słowo na Powązkach
  • S. Jarociński Muzyka współczesna
  • S. Jarociński O Debussym
  • S. Jarociński Męczeństwo św. Sebastiana – misterium G. d’Annunzia i C. Debussy’ego w pięciu scenach
  • A. Wightman Szymanowskiego pisma o muzyce – studium porównawcze. Szymanowski's Writings on Music. A Comparative Study
  • P. E. Carapezza Król Roger między Dionizosem i Apollinem
  • C. Dahlhaus O pieśniach Karola Szymanowskiego do słów Richarda Dehmela. Zu Karol Szymanowskis Dehmel-Liedern
  • S. Martinotti Recepcja twórczości Szymanowskiego we Włoszech
  • H. Sugano Muzyka chóralna Karola Szymanowskiego
  • T. Chylińska Nowe materiały do korespondencji Karola Szymanowskiego z Jarosławem Iwaszkiewiczem
  • W. Lutosławski Przemówienie w czasie „Commencement” w Cleveland
  • W. Lutosławski Kilka problemów z dziedziny rytmiki
  • K. Meyer O muzyce Witolda Lutosławskiego
  • J. Casken Przejście i transformacja w muzyce Witolda Lutosławskiego
  • H. G. Gadamer Odczyt wygłoszony w PEN-Clubie w Warszawie na wiosnę 1979 roku
  • H. G. Gadamer Idea logiki Hegla
  • H. G. Gadamer Hegel i romantyzm heidelberski
  • G. Boehm Obraz i czas
  • M. Tomaszewski Nad analizą i interpretacją dzieła muzycznego. Myśli i doświadczenia
  • A. Feil Próba strukturalnej analizy pieśni Schuberta
  • F. R. Noske Forma formans. Muzyka jako przedmiot i jako ruch
  • D. Stockmann Muzyka jako system komunikacji. Aspekty teorii informacji i znaku w badaniach muzyki przekazywanej tradycją ustną
  • A. P. Merriam Muzyka jako zachowanie symboliczne
  • M. Mead Badania komunikacji kulturowej. Od intuicji do analiz
  • M. Schneider Podstawy intelektualne i psychologiczne śpiewu magicznego
  • R. M. Schafer Muzyka środowiska
  • A. Chybiński Z materiałów epistolarnych (komentarz i opracowanie Krystyny Winowicz)

Archiwum Res Facta Nova

Numer 1 (10) 1994

Numer 2 (11) 1997

  • Witold Lutosławski (25.01.1913 – 07.02.1994)
  • I. Nikolska Rozmowa z Witoldem Lutosławskim. O moim języku muzycznym (oprac. B. i J. Stęszewscy)
  • Z. Skowron Rozmowa z Witoldem Lutosławskim. Spotkania z Witoldem Lutosławskim
  • S. Będkowski Rozmowa z Witoldem i Danutą Lutosławskimi. By nie zatarł czas… Witold Lutosławski o sobie
  • L. da Ponte Don Giovanni (libretto w przekładzie S. Barańczaka)
  • L. da Ponte Le Nozze di Figaro (Wesele Figara, libretto w przekładzie S. Barańczaka)
  • A. Jordan-Szymańska Percepcja formy utworu muzycznego w świetle psychologii poznawczej

Numer 3 (12) 1999

  • List Floriana Dąbrowskiego
  • M. Głowiński Wokół książki Stefana Jarocińskiego o Debussym
  • M. Woźna-Stankiewicz Między impresjonizmem a symbolizmem, czyli pierwsze polskie interpretacje muzyki Claude'a Debussy'ego
  • L. Sokół Dwa „Sezony w piekle”: Rimbaud i Strindberg
  • A. Bielik-Robinson Ekstaza i melancholia
  • I. Poniatowska Czy muzyka wyraża? Esej o Vladimirze Jankélévitchu
  • E. Witkowska-Zaremba Maurice Emmanuel i ciągłość języka muzycznego
  • E. Grabska Zapomniany filozof sztuki dobymodernizmu. Między Płockiem a Paryżem
  • A. Socha Eric Satie: garść refleksji (między Erickiem Satie a Stefanem Jarocińskim)
  • M. Bristiger Boris de Schloezer (1881-1969) – świadek epoki
  • M. Szoka Ernest Ansermet i Frank Martin – dzieje przyjaźni
  • S. Jakóbczyk Dwa teatry Maurycego Maeterlincka
  • J. Kłobukowska U źródeł problematyki pieśni francuskiej końca XIX wieku
  • J. Bauman-Szulakowska Twórczość kameralna G. Faurégo i E. Chaussona jako obraz przemian epoki
  • M. Asikainen Selim Palmgren i Uuno Klami – przedstawiciele „nurtu francuskiego” w muzyce fińskiej na początku XX w.
  • D. Maciejewicz „Sujet en procès” w semiotycznej teorii Julii Kristevej a muzyka Mortona Feldmana
  • R. Francès, M. Imberty, A. Zenatti Świat muzyki (przeł. M. Bogdan, H. Kotarska)
  • A. Schneider Historyczność sztuki i muzyka pozaeuropejska (tłum. M. Nawrocka)

Numer 4 (13) 2001

  • I. Poniatowska Mieczysław Tomaszewski: Chopin. Człowiek, dzieło, rezonans. Poznań 1998 (rec.)
  • R. Berger Chopin i Szymanowski a współczesność
  • R. Berger Sens muzyki artystycznej („poważnej”)
  • Słowo o autorze, wykaz wybranych kompozycji i publikacji [R. Bergera] (oprac. G. Piotrowski)
  • C. Seeger O trybach logiki muzycznej (tłum. M. Zapędowska)
  • M. Bristiger O filozofii muzyki Aleksieja F. Łosiewa (1893-1988)
  • L. Popławski Torami nowej muzyki

Numer 5 (14) 2002

  • C. Seeger „Tractatus Esthetico-Semioticus”: Model systemów komunikacji międzyludzkiej (tłum. M. Turski, red. M. Jabłoński)
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) Charlesa Seegera wizja muzykologii filozoficznej
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) Wmyślanie się w muzykologię
  • J. Stęszewski Robert Lach i Werner Danckert
  • R. Lach Studia do historii rozwoju ornamentalnej melopei. Tezy końcowe (tłum. J. Stęszewski)
  • W. Danckert Królestwo dźwięków i liczba-symbol w kulturach rozwiniętych i w świecie pierwotnym (tłum. M. Nawrocka)
  • T. Szeligowski Listy do Marii Modrakowskiej (red. M. Gmys)

Numer 6 (15) 2003

  • Prace wybrane [Paolo Emilio Carapezzy]
  • M. A. Balsano Le terre del compimento
  • R. J. Wieczorek Humanizm muzyczny. Z dziejów kłopotliwej hipostazy
  • G. Collisani „Hic sunt leones”: animali e musica nella Sicilia nel Cinque e Seicento
  • A. Tedesco Una sconosciuta raccolta di libretti siciliani a Roma
  • E. Witkowska-Zaremba Niektóre aspekty włoskiej i niemieckiej „ars organica” w pierwszych dekadach XV wieku
  • Z. Skowron La musica nel „Cortigliano polacco” di Łukasz Górnicki: un confronto con l'opera di Castiglione
  • Z. Dobrzańska-Fabiańska Tonalne i modalne aspekty „Delli madrigali a cinque voci del Prencipe di Venosa libro sesto” (1611)
  • B. Przybyszewska-Jarmińska Starania biskupa wrocławskiego Karola Habsburga o pozyskanie włoskich śpiewaków (1621-1622)
  • P. Poźniak Kanony Andrzeja Chylińskiego, prefekta muzyki w Padwie, na tle „uczonej” muzyki w XVII-wiecznej Polsce
  • A. Szweykowska, Z. M. Szweykowski Modelli italiani nell'opera di Marcin Mielczewski
  • M. Rosaria Adamo „Bella figlia dell'amore…”
  • R. Pagano Organo e orchestra in Francia, dopo Sedan
  • M. Gmys Karola Szymanowskiego muzyka sfer. Projekt analizy semantycznej III Symfonii „Pieśń o nocy”
  • P. Violante Il silenzio del profeta
  • H. Geyer Zwischen Traum und Alptraum: Beobachtungen an Benjamin Brittens Liederzykus „Nocturne” op. 60
  • A. Titone Cose nuove e cose antiche
  • M. Bristiger „Świtu blask na ziemię spływa…”. Uwagi do restytucji polskiego przekładu libretta opery Domenico Scarlattiego „Narciso” (1720)
  • C. S. Capeci Libretto Domenico Scarlattiego „Narciso” (przekład Michała Bristigera i Zygmunta Kubiaka)
  • G. Giuriati Continuà e transformazioni nei procedimenti esecutivi della tarantella di Montemarano
  • A. Fiorenza Flamingoes and mustard, or Trough the looking-Glass and what Erik found there
  • A. Collisani L'idea estetica dei significanti in musica
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza), M. Poprawski (Prze)moc metafory
  • J. Stęszewski O dwóch historiach muzyki, które warto rozróżniać. Etnomuzykologiczna i muzykologiczna glosa do koncepcji Fernanda Braudela

Numer 7 (16) 2004

  • A. A. Łuczak Florian Dąbrowski – Kompozytor i Obywatel
  • K. Meyer Zawsze wierny w przyjaźni
  • J. Stęszewski Florek
  • M. Dziadek Poszukiwacz prawdy. Szkic o pismach muzycznych Floriana Dąbrowskiego
  • R. Berger „Celanstimmen” – głosy „na koniec Czasu”?
  • H. Lorkowska U źródeł Pro Sinfoniki. Koncepcje edukacji artystycznej prof. Floriana Dąbrowskiego
  • F. Dąbrowski Faksymile rękopisu pieśni „Cello Einsatz” do słów Paula Celana
  • K. Berger (Department of Music Stanford University) Teoria sztuki. Hermeneutyka. Interpretacja i jej prawomocność
  • Karol Berger – Wykaz publikacji (wybór)
  • J. Humięcka-Jakubowska (Wydział Historyczny Uniwersytetu im. Adama Mickiewicza w Poznaniu) Czy restytucja teorii postaci w badaniu percepcji muzyki drugiej połowy XX wieku…?
  • P. Podlipniak (Katedra Muzykologii, Wydział Historyczny, Uniwersytet Adama Mickiewicza) O pewnych uniwersalnych aspektach komunikacji muzycznej
  • A. Jarzębska O relacjach między człowiekiem a muzyką. Z problemów analizy i interpretacji muzyki

Numer 8 (17) 2005

  • M. Bristiger Uwagi wstępne do hasła „Opera” Johanna Georga Sulzera
  • J. G. Sulzer Opera; Operetki, opery komiczne
  • F. Martin Odpowiedzialność kompozytora
  • F. Martin Ekspresja albo inkarnacja
  • F. Martin „System” i komponowanie
  • M. Szoka Mit tristanowski w ujęciu Franka Martina (na tropie pewnej powieści)
  • K. Kozłowski Zbawienie w miłości („Tristan i Izolda” Richarda Wagnera)
  • A. Koszewska Teza o wartości etycznej dzieła muzycznego
  • D. Łopatowska „Hardingfele” w norweskiej tradycji ludowej
  • E. Schreiber Metafora w badanich muzykologicznych. Wokół książki „Klang – Struktur – Metapher”

Numer 9 (18) 2007

Numer 10 (19) 2008

Numer 11 (20) 2010

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.

  • 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.

  • 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.

  • E. Tarasti World and its interpretation
  • M. Jabłoński (Katedra Muzykologii, Wydział Historyczny, Uniwersytet im. Adama Mickiewicza) 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.

  • 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.

  • 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.

  • 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.

  • R. J. Wieczorek Florenckie canti carnascialeschi: między rytuałem a muzyką  (88KB)
    • 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  (84KB)
    • 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  (64KB)
    • 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  (1200KB)
    • 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  (100KB)
    • 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  (72KB)
    • 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  (2520KB)
    • How Many Performances of Quatuor pour la Fin du Temps (Quartet for the End of Time) by Olivier Messiaen Were Given in Stalag VIII A in Görlitz? New Facts and Hypotheses 70 Years Later. In the musicological literature devoted to Olivier Messiaen the fact of composing the Quatuor pour la Fin du Temps in Stalag VIII A in Görlitz is generally known, the composition considered as the greatest achievement of chamber music of the 20th century. Also known are the facts regarding the legendary premiere of the Quartet which took place in Stalag VIII A on 15 January 1941, vividly related by the composer and three performers of that concert: a violinist Jean (Eugène) Le Boulaire, a clarinettist Henri Akoka and a cellist Étienne Pasquier. However, neither the early fundamental writings on the musical works of Messiaen (Antoine Goléa, Pierrette Mari, Claude Samuel, Harry Halbreich), nor the most recent monographs (Rebecca Rischin, Anthony Pople, Peter Hill and Nigel Simeon) inform about the fact that not yet finished Quartet was performed before official premiere in the Stalag, organized by Polish artists, cadets — the prisoners of war, during the „Polish Evening”, in mid-December 1940. They combined the performance of the five parts of the Quartet with a recitation in Polish of 13 poems by Zdzisław Nardelli, including the one entitled Otchłań ptaków (The Abyss of the Birds). That such „Polish Evening” took place is evidenced not only by the accounts of its organizers and the audience (Zdzisław Nardelli, Bohdan Samulski, Antoni Śliwiński, Świętosław Krawczyński 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 hidden by Śliwiński and made accessible to the general public in 1982 in Cracow. It is a unique document – published here – and unknown to the researchers studying the Messiaen’s musical output. The eight participants and organizers put their signatures on that programme, among which the signature of Messiaen is visible. Moreover, in that programme the „Polish Evening” is given the name Otchłań ptaków (The Abyss of the Birds), that is identical with the third solo part for clarinet L’Abîme des oiseaux in the Quatuor pour la Fin du Temps, 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 Quatuor pour la Fin du Temps in Stalag VIII A in Görlitz in 1941 was not the first presentation of this composition in the camp.

Numer 13 (22) 2012

Numer 14 (23) 2013

Numer 15 (24) 2014

Numer 16 (25) 2015

ISSN 1897-824X
DOI 10.14746/rfn.2015.16

Res Facta Nova 2010-2011
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