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Relevant bibliographies by topics / Szymanowski

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Academic literature on the topic 'Szymanowski'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Szymanowski"

1

Bengtson, Matthew. "The “Szymanowski Clash”: Harmonic Conflict and Ambiguity in the Szymanowski Mazurkas." Articles 36, no. 1 (2018): 3–27. http://dx.doi.org/10.7202/1043866ar.

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Among the greatest fascinations of Karol Szymanowski’s Mazurkas, op. 50 and op. 62, are their rich and sophisticated harmonic vocabulary. Many stylistic elements are combined together in this musical language, including pedal points, bagpipe fifths, modal mixture, and bitonality. The interplay of all these phenomena tends to destabilize functional harmonic relationships, leading to many instances of harmonic clashes by semitone, dubbed “Szymanowski clashes.” Considering this harmonic language through the lens of the Szymanowski clash can offer an understanding of this music that points to unde

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2

Masi, Leonardo. "Le influenze italiane in Karol Szymanowski." Poznańskie Studia Polonistyczne. Seria Literacka, no. 39 (December 15, 2020): 101–11. http://dx.doi.org/10.14746/pspsl.2020.39.6.

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Like many other artists, Szymanowski was hugely attracted to Italy. In this article, I will briefly expose, firstly, the “Italian” tracks that can be found in the Polish composer’s music, and, secondly, the declarations on Italy in Szymanowski’s writings, in particular on his art and music, trying to relate these elements between them to see what image of Italian culture emerges. I will show how Szymanowski’s cultural environment remains German-based nevertheless looking for the lost unity between man, art and nature in the heritage of the Italian Renaissance.

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Serdiuk, Oleksandr. "Karol Szymanowski and multiculturalism." Aspects of Historical Musicology 19, no. 19 (2020): 206–29. http://dx.doi.org/10.34064/khnum2-19.12.

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Background. The problem of self-determination of an artist who apprehends oneself as a representative of a certain nation, but is forced to selfactualize in the cultural space of a multinational empire, remained relevant for a long period for the majority of representatives of the Polish creative intelligentsia. Among them, it is appropriate to recall, in first, Karol Szymanowski, whose creative development took place in a multicultural environment. The outstanding musician was feeling his involvement not only in the European tradition in general, but also in the Antique, Eastern, Polish, Russ

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4

Kominek, Mieczysław. "Karol Szymanowski’s Vision of New Polish Music." Polski Rocznik Muzykologiczny 19, no. 1 (2021): 104–17. http://dx.doi.org/10.2478/prm-2021-0004.

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Abstract In 19th-century Poland — under Russian, Prussian and Austrian rule at the time – the main goal of music was to promote revival and to stimulate patriotic feelings. Patriotic Polishness drawing on the country’s glorious past was to be the essence of music; modernity of the composer’s language was of secondary importance. Karol Szymanowski unceremoniously criticised this patriotic music as turned towards the provincial Polish tradition. According to Szymanowski, the criterion of Polish and at the same time “civilised musical art” was met only by Chopin. With the regaining of independenc

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5

Wightman, Alistair, Szymanowski, and Adam Neuer. "Szymanowski." Musical Times 129, no. 1746 (1988): 409. http://dx.doi.org/10.2307/965980.

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6

Dunnett, Roderic. "Szymanowski." Musical Times 131, no. 1773 (1990): 603. http://dx.doi.org/10.2307/966193.

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7

Downes, Stephen. "Szymanowski and Narcissism." Journal of the Royal Musical Association 121, no. 1 (1996): 58–81. http://dx.doi.org/10.1093/jrma/121.1.58.

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The ‘cultivation of the self’, which Carl E. Schorske has identified as a characteristic of the Viennese bourgeoisie, establishes a ‘link between a devotion to art and a concern with the psyche’. Such a life ‘appropriated the aesthetic, sensuous sensibility’ leading to ‘narcissism and a hypertrophy of the life of feeling’. Szymanowski, who was for many years fascinated by Viennese culture, reflects many of these characteristics. He was, furthermore, greatly influenced by the work of Pater and Wilde, central figures in the English ‘decadent’ scene which, in Arthur Symons's words, was marked by

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8

Kafka, Laura Grazyna. "Szymanowski on Music: Selected Writings of Karol Szymanowski (review)." Notes 57, no. 1 (2000): 144–45. http://dx.doi.org/10.1353/not.2000.0029.

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9

Szwejkowska-Belica, Aleksandra. "The influence of the style of Karol Szymanowski on the creative work of Polish 20th century composers based on the Polish Suite by Szymon Laks." Notes Muzyczny 1, no. 11 (2019): 109–46. http://dx.doi.org/10.5604/01.3001.0013.3524.

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The essence of the present article is presenting the influence of the creative output as well as personality of Karol Szymanowski on subsequent generations of Polish 20th century composers searching for new trends and options for their artistic development, based on the Polish Suite for violin and piano by Szymon Laks. It is a very interesting composition as an object for an academic study as well as from the performance-related and artistic perspectives. All research activities aim towards finding style similarities in Laks’ composition and analysing them in comparison to works by Szymanowski

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10

Wightman, Alistair. "Szymanowski and Islam." Musical Times 128, no. 1729 (1987): 129. http://dx.doi.org/10.2307/964492.

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Dissertations / Theses on the topic "Szymanowski"

1

Van, Moere Didier. "Karol Szymanowski et la France." Paris 4, 1993. http://www.theses.fr/1993PA040001.

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2

Makosz, Jadwiga. "Die Oper Król Roger von Karol Szymanowski." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2001. http://d-nb.info/1000498174/04.

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Ho, Frank Kwantat. "The violin music of Karol Szymanowski (Poland)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59725.pdf.

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Rada, Stanislav. "Karol Szymanowski: Život a tvorba pro housle." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2013. http://www.nusl.cz/ntk/nusl-177952.

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The Author of this work focuses on the Polish music composer Karol Szymanowski and his works for violin. This work includes a biography of the composer with the emphasis on his work, describes his creative period and is dedicates to his compositions for violin. The Author concentrates on the Sonata for violin and piano in D minor, Op. 23, Nocturne and Tarantella, Op. 28, Myths Op. 30, Violin Concerto No. 1, Op. 35, Concerto for Violin No. 2, Op. 61 and a few other small pieces for this instrument. He also focuses on the circumstances, which influenced the creation of Szymanowski and his compos

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Tomaszewski, Mieczysław. "Karol Szymanowski zwischen Ost und West, Nord und Süd." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21333.

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Downes, Stephen Clive. "Szymanowski as post-Wagnerian : The Love songs of Hafiz, Op. 24." Thesis, Goldsmiths College (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389617.

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Floirat, Anetta. "Le Roi Roger de Karol Szymanowski, chef-d’œuvre de diversité unifiée." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040090.

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Le Roi Roger, chef-d’oeuvre du compositeur polonais Karol Szymanowski (1882-1937), constitue une œuvre-clé pour le développement de son auteur. Situé dans la Sicile médiévale, théâtre de la confrontation de nombreuses civilisations (notamment grecque, byzantine, arabe et normande), l’opéra se veut mosaïque de cultures (interculturalité) et des sources artistiquement variées (pluridisciplinarité). Allant des Bacchantes d’Euripide jusqu’à la philosophie nietzschéenne et de la musique folklorique des Tatras au drame wagnérien, ce kaléidoscope de sources est articulé par quelques idées fondamental

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Downes, Stephen C. "Szymanowski as post-Wagnerian : the love songs of Hafiz, op. 24 /." New York ; London : Garland, 1994. http://catalogue.bnf.fr/ark:/12148/cb35855114n.

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Alvarez, Christophe. "Masques Op. 34, Karol Szymanowski : étude de l’implication structurelle des différents niveaux du parcours harmonique : Analyse du discours et problématiques interprétatives." Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2018/document.

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L’objectif de cette étude est de montrer – par une analyse rigoureuse des principes harmoniques qui gouvernent les multiples sections du tryptique pour piano Masques Op. 34 de Karol Szymanowski – qu’au-delà d’une apparente hétérogénéité de surface, le discours musical est organisé de façon cohérente et subtile par l’interpénétration du niveau de perception immédiate du corps sonore et du niveau infra-sensible qui procède de l’ordre des fondamentales harmoniques. Cette thèse propose également des conseils d’interprétation, déterminés par l’expérience analytique<br>The purpose of this study is t

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Cesetti, Durval. "The Many Masks of Karol Szymanowski: A Commentary on his Piano Triptychs." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111715.

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Note:<br>Karol Szymanowski's music has fascinated me for a long time. The first time I encountered his name was in Artur Rubinstein's autobiography, which recounts how they first met and narrates many anecdotes about their friendship. At the time, I was living in Brazil, and was unable to find any recordings of his music. Nonetheless, Rubinstein's ardent praise of him (“a master!”, “a great Polish composer!”, “a powerful, original personality”) made me very curious, and I did not abandon my desire to keep looking for his music. Then, when I moved to Montreal in order to start my undergraduate

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Books on the topic "Szymanowski"

1

Golachowski, Stanisław. Szymanowski. Paganiniana Publications, 1986.

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2

Karol Szymanowski. Fayard, 2008.

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3

Alistair, Wightman, ed. Szymanowski on music: Selected writings of Karol Szymanowski. Toccata, 1999.

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4

Komorowska, Małgorzata. Szymanowski w teatrze. Instytut Sztuki Polskiej Akademii Nauk, 1992.

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5

Zieliński, Tadeusz Andrzej. Szymanowski: Liryka i ekstaza. Polskie Wydawn. Muzyczne, 1997.

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6

Szalsza, Piotr. Karol Szymanowski w Pradze. [AM], 1985.

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7

Chylińska, Teresa. Karol Szymanowski i jego epoka. Wydawn. "Musica Iagellonica,", 2008.

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Chylińska, Teresa. Karol Szymanowski i jego epoka. Wydawn. "Musica Iagellonica,", 2008.

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Chylińska, Teresa. Karol Szymanowski i jego epoka. Wydawn. "Musica Iagellonica,", 2008.

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Chylińska, Teresa. Karol Szymanowski i jego epoka. Wydawn. "Musica Iagellonica,", 2008.

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Book chapters on the topic "Szymanowski"

1

Lück, Hartmut. "Karol Szymanowski." In Kammermusikführer. J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_125.

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2

Lück, Hartmut. "Szymanowski, Karol Maciej." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_301.

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Lück, Hartmut. "Szymanowski, Karol Maciej." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_307.

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4

Linck, Stephan. "Eine mörderische Karriere: der schleswig-holsteinische Theologe Ernst Szymanowski/Biberstein." In Für ein artgemäßes Christentum der Tat. V&R unipress, 2016. http://dx.doi.org/10.14220/9783737005876.239.

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Macleod, Joseph. "Ravel: Vaughan Williams: Szymanowsky." In The Sisters d' Aranyi. Routledge, 2021. http://dx.doi.org/10.4324/9781003228684-14.

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"SZYMANOWSKI, KAROL." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-460.

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7

"Sacchini – Szymanowski." In Opern-Diskographie. K. G. Saur, 2008. http://dx.doi.org/10.1515/9783110955965.420.

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8

"KAROL SZYMANOWSKI." In The Opera Lovers Companion. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300130812-061.

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9

Downes, Stephen. "Szymanowski, a Hafiz ‘Grablied’, and the ‘Translation’ of Nietzsche." In Song Beyond the Nation. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0003.

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Szymanowski’s two cycles of ‘Love Songs of Hafiz’ (1911 and 1914), settings of paraphrases by Hans Bethge, are often considered crucial steps in the composer’s shift from a style which openly displays its debts to Wagner and Strauss to a more personal idiom. He discovered Bethge’s Hafiz while tiring of the Straussian idiom but remaining an enthusiastic Nietzschean. Bethge’s translations of Hafiz offered Szymanowski a seductive vehicle for ‘translating’ what he wished to preserve of Nietzsche into the spirit of his new compositional style. The ‘Grablied’ was a particularly important idea in this creative re-thinking. In Nietzsche’s Zarathustra the ‘Grablied’ has a crucial function in overcoming past seductions (Wagner) and present enemies. Bethge’s poem, ‘Das Grab des Hafis’ is replete with echoes of Nietzsche. Szymanowski’s setting (1914), in the same key (B minor) as Strauss’s Zarathustra ‘Grablied’, introduces an ‘Urmotiv’ of exotic cut, as the musical equivalent of perfume rising from the grave. It offers distance from the style of Austro-German modernism while retaining transformed traces of its legacy. In this song Szymanowski ‘translates’ his ‘German’ musical idiom and key aspects of the Nietzschean ‘Grablied’ into a new language evocative of ‘Persian’ regeneration.

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"Musical Influences on Szymanowski." In The Szymanowski Companion. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-35.

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