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Journal articles on the topic 'Szymanowski'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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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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3

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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11

Wightman, Alistair, Kornel Michalowski, and Teresa Chylinska. "Karol Szymanowski: Pisma." Notes 49, no. 3 (1993): 952. http://dx.doi.org/10.2307/898930.

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12

Samson, Jim. "Szymanowski and Polish Nationalism." Musical Times 131, no. 1765 (1990): 135. http://dx.doi.org/10.2307/965997.

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13

Mielcarek-Krzyżanowska, Barbara. "„Mistrz musi potwierdzić ucznia, uczeń potwierdza mistrza w jego roli i pozycji”. O relacjach Karola Szymanowskiego i Zygmunta Mycielskiego." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 27–39. http://dx.doi.org/10.14746/rfn.2021.22.3.

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The special relationship that developed during the second half of the 1920s between Karol Szymanowski and Zygmunt Mycielski, composers from two different generations, lasted until Szymanowski’s death in 1937. In this relationship there was a combination of experience, wisdom and knowledge, identified with the position of the master, and supported by his having overcome the reluctance to share them with a young novice in composition, just entering the field of music.The attitude of the pupil often lacked the usual boundless trust in themaster, compensated for by Mycielski through enormous respe

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14

Kafka, Laura Grazyna. "Polish Music Since Szymanowski (review)." Notes 62, no. 3 (2006): 706–8. http://dx.doi.org/10.1353/not.2006.0023.

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15

Dziadek, Magdalena. "Danuta Gwizdalanka: „Der Verführer. Karol Szymanowski und seine Musik”, Wiesbaden 2017." Muzyka 63, no. 4 (2018): 139–43. http://dx.doi.org/10.36744/m.353.

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16

Cadrin, Paul. "Karol Szymanowski and Richard Strauss: Of Diverging Epiphanies." Canadian University Music Review 24, no. 2 (2013): 29–43. http://dx.doi.org/10.7202/1014581ar.

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According to the philosopher Charles Taylor, since the beginning of the nineteenth century, with the advent of Romanticism, the work of art is defined by its epiphanic character. It is a manifestation of something of the highest moral or spiritual significance; this manifestation is not merely subjective, in which case it would be inaccessible to scholarly inquiry, but it has an objective character. The Third Symphony, op. 27, by Karol Szymanowski is analyzed in the light of Taylor's concept. The Deutsche Motette, op. 62, by Richard Strauss, which is based on a text similar to the one used by

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17

van Moere, Didier. "La Mandragore ou Le Bourgeois de Szymanowski." Recherches & travaux, no. 67 (May 30, 2005): 211–19. http://dx.doi.org/10.4000/recherchestravaux.286.

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18

Malecka, Teresa. "„Tam, gdzie podążał Szymanowski, zmierzam i ja”." Pro Musica Sacra 11 (October 30, 2013): 123. http://dx.doi.org/10.15633/pms.558.

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19

Downes, Stephen C. "Karol Szymanowski: His Life and Work (review)." Notes 57, no. 4 (2001): 909–10. http://dx.doi.org/10.1353/not.2001.0080.

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20

Mika, Bogumila. "Music of Karol Szymanowski in the intertextual dialogue." New Sound, no. 51 (2018): 64–81. http://dx.doi.org/10.5937/newso1851064m.

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In this paper I delineate how two aspects of the music of Karol Symanowski-subjective and objective-enter into intertextual dialogue with other musical pieces. The subjective aspect of intertextual dialogue is defined as Symanowskis use in his own music of fragments of the works of various composers and of folk music. The objective aspect of intertextual dialogue is defined as citations from or allusions to Symanowskis work by other Polish composers. The problem of intertextuality in music remains important when considering participation of a single musical work in 'the world of musical art in

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21

Beffa, Karol. "Szymanowski et la Nouvelle École de musique polonaise." Commentaire Numéro 138, no. 2 (2012): 544–45. http://dx.doi.org/10.3917/comm.138.0544.

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22

Howard, Luke. "The songs of Karol Szymanowski and his contemporaries." Musicology Australia 29, no. 1 (2007): 194–98. http://dx.doi.org/10.1080/08145857.2007.10416600.

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23

Mikołajczyk, Marcin. "Dymitr Simo Szymanowski - Grek z urodzenia, Kaliszanin z wyboru." Polonia Maior Orientalis I (2014): 151–60. http://dx.doi.org/10.4467/27204006pmo.14.011.17057.

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Niniejszy artykuł ma na celu przybliżenie sylwetki Dymitra Simo Szymanowskiego. Urodził się w macedońskim mieście Bitola. Do czasu przybycia do Kalisza mieszkał w Peszcie na Węgrzech. W Kaliszu zamieszkał po śmierci swojego stryja Mikołaja Szymanowskiego w 1837 r., przejmując po nim handel winem. Obywatel miasta Kalisza, członek Rady miejskiej, Starszy Zgromadzenia Kupieckiego w Kaliszu, przez 25 lat członek Rady Dobroczynności Publicznej Guberni Kaliskiej, należał do kaliskiej gminy greckiej. W l. 50. i 60. XIX w. wchodził w skład Rady Nadzorczej szpitala św. Trójcy oraz komitetu Zupy Rumford

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24

Clarke, Graham S. "Fairbairnian approaches to King Roger , the opera by Karol Szymanowski." Attachment: New Directions in Psychotherapy and Relational Psychoanalysis 14, no. 1 (2020): 66–86. http://dx.doi.org/10.33212/att.v14n1.2020.66.

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In what follows I will develop an account of Fairbairn's object relations theory as I have understood and developed it, and, apply that theory to an understanding of the threeact opera King Roger, Op. 26 (1926) by Karol Szymanowski. My Fairbairnian approaches to the opera come from my previous work on Fairbairn's object relations theory. In order to fully understand the first of the approaches I employ you may need to read my book Personal Relations Theory (Clarke, 2006), in particular chapters one, five, and six. In order to fully understand the second of the approaches I am using you need to

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25

McNamee, Ann K. "Bitonality, Mode, and Interval in the Music of Karol Szymanowski." Journal of Music Theory 29, no. 1 (1985): 61. http://dx.doi.org/10.2307/843371.

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26

Floirat, Anetta. "Les bacchantes d’Euripide et le Roi Roger de Karol Szymanowski." Revue des études slaves 84, no. 3-4 (2013): 445–55. http://dx.doi.org/10.4000/res.1148.

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27

Alvarez, Christophe. "Masques, op. 34 de Karol Szymanowski. Une lecture architecturelle des principes harmoniques de « Tantris le bouffon », et esquisse d’une trajectoire interprétative." Revue musicale OICRM 4, no. 1 (2017): 108–49. http://dx.doi.org/10.7202/1040302ar.

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L’objectif de cette étude est de montrer – par une analyse rigoureuse des principes harmoniques qui gouvernent les multiples sections de la pièce – qu’au-delà d’une apparente hétérogénéité de surface, le discours musical de « Tantris le bouffon » des Masques, op. 34 de Karol Szymanowski 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. Cet article propose également des conseils d’interprétation, déterminés par l’expérience analytique.

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28

Reese, Alan. "Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski." Music Theory Spectrum 42, no. 2 (2020): 305–25. http://dx.doi.org/10.1093/mts/mtaa007.

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Abstract A characteristic technique of Karol Szymanowski’s middle-period style (1914–18) is “keyboard bitonality”: the juxtaposition of the black-key pentatonic and white-key diatonic scales. To explore Szymanowski’s treatment of keyboard bitonality, I introduce the scalar alignment network, a biscalar landscape of all possible pairings of black- and white-key pitch classes that highlights the effects of a particular alignment, such as the resultant pitch-class pairings and intervallic patterns. To accomplish this, I employ a variety of transformational tools, including diatonic transpositions

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29

Van Moere, Didier. "Harnasie de Karol Szymanowski et la critique française, étude de réception." Revue de littérature comparée 307, no. 3 (2003): 317. http://dx.doi.org/10.3917/rlc.307.0317.

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30

Reyland, Nicholas. "Polish Music since Szymanowski by Adrian Thomas. Cambridge University Press, £60.00." Tempo 60, no. 236 (2006): 69–70. http://dx.doi.org/10.1017/s0040298206230146.

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31

Manaut, B., Y. Attaourti, S. Taj, and S. Elhandi. "Mott scattering in strong laser fields revisited." Canadian Journal of Physics 87, no. 4 (2009): 299–310. http://dx.doi.org/10.1139/p08-109.

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In this work, we review and correct the first Born differential cross section for the process of Mott scattering of a Dirac–Volkov electron, namely, expression (26) derived by Szymanowski et al. (Phys. Rev. A, 56, 3846 (1997)). In particular, we disagree with the expression of (dσ/dΩ) that they obtained and we give the exact coefficients multiplying the various Bessel functions appearing in the scattering differential cross section. Comparison of our numerical calculations with those of Szymanowski et al. shows qualitative and quantitative differences when the incoming total electron energy an

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32

Rosół, Patrycja. "Konteksty muzyczne w Rymach dziecięcych Kazimiery Iłłakowiczówny." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (2019): 415–23. http://dx.doi.org/10.18778/1505-9057.52.24.

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Szkic poświęcony jest Rymom dziecięcym Kazimiery Iłłakowiczówny – tomikowi miniatur poetyckich przeznaczonych dla dzieci, do których Karol Szymanowski skomponował cykl pieśni na głos i fortepian pt. Rymy dziecięce op. 49 zadedykowanych zmarłej siostrzenicy – Pamięci Alusi. Autorka szkicu przywołuje okoliczności napisania cyklu oraz wspomina o konflikcie, jaki powstał między poetką a kompozytorem, który bez zgody autorki wydał pieśni w wydawnictwie Universal-Edition. W dalszej części szkicu Autorka skupia uwagę na intersemiotycznej analizie muzycznego przekładu wierszy (zabiegi dynamiczne, rytm

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33

Henriksen, Michala de Linde, Caryn E. Plummer, and Dennis E. Brooks. "Modified Kuhnt-Szymanowski surgical procedure for secondary cicatricial ectropion in a horse." Veterinary Ophthalmology 16, no. 4 (2012): 276–81. http://dx.doi.org/10.1111/j.1463-5224.2012.01061.x.

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34

Akdag, Osman, Furkan Erol Karabekmez, Mustafa Sutcu, Ahmet Duymaz, Mehtap Karamese, and Zekeriya Tosun. "An Effective Method for Ectropion Correction: The Smith Modification of Kuhnt Szymanowski Techniqe." Abant Medical Journal 2, no. 2 (2013): 82–86. http://dx.doi.org/10.5505/abantmedj.2013.86570.

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35

Renat, Maryla. ""Sonata in D minor", Op. 9 by Karol Szymanowski. Genesis – reception – compositional technique." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 10 (2015): 29–58. http://dx.doi.org/10.16926/em.2015.10.02.

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36

Hayashi, Ayato, Mariko Mochizuki, Tomoki Kamimori, Masatoshi Horiguchi, Rica Tanaka, and Hiroshi Mizuno. "Application of Kuhnt–Szymanowski Procedure to Lower Eyelid Margin Defect after Tumor Resection." Plastic and Reconstructive Surgery - Global Open 5, no. 2 (2017): e1230. http://dx.doi.org/10.1097/gox.0000000000001230.

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37

Cadrin, Paul. "Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski." Canadian University Music Review, no. 7 (1986): 171. http://dx.doi.org/10.7202/1014092ar.

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38

Parham, Blake. "A New Home Leads to Compositional Evolution: Roman Palester’s Preludes for Piano (1954)." Polski Rocznik Muzykologiczny 19, no. 1 (2021): 209–56. http://dx.doi.org/10.2478/prm-2021-0003.

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Abstract Roman Palester (1907–1989) was one of the most promising and well-known composers in Poland during the inter-war period. On more than one occasion he was compared to the father of Polish contemporary music, Karol Szymanowski (1882–1937).1 As one of Poland’s leading conductors Jan Krenz noted: “We met while working on the film Zakazane piosenki [Forbidden Songs]. I remember that Palester then came to Łódź in the halo of Szymanowski’s successor. People would say ‘this is the great Roman Palester’.”2 Yet at the height of his fame, in 1951, he chose to leave his homeland and take up resid

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39

Żerańska-Kominek, Sławomira. "Poetic Images of Nightingale in the Art Song. On Some Aspects of Musical Meaning." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 117–34. http://dx.doi.org/10.14746/ism.2019.19.8.

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Birds are not only part of nature, but also an important element of culture. The life and behaviour of some bird species has been reflected in literary tradition in the form of poetic images and representations reflecting existential problems and stereotypically associated with specific states of the human psyche. These images and their poetics inspired composers of the Romantic era to create their musical, semantically charged counterparts. A special place in European poetry and music is occupied by the nightingale, which has wide symbolic connotations. My article discusses the musical replic

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40

Anderson, Martin. "London, Wigmore Hall: Erik Chisholm and Ronald Stevenson." Tempo 58, no. 228 (2004): 75. http://dx.doi.org/10.1017/s0040298204340155.

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Murray McLachlan's première of Erik Chisholm's Sonata in A minor on 4 January marked the centenary of Chisholm's birth (in Cathcart, outside Glasgow) to the day itself. Chisholm was a considerable force for good while he was busy in Scotland: the first British performances of Les Troyens, Béatrice et Bénédicte and Idomeneo; visits to his ‘Active Society for the Propagation of Contemporary Music’ in Glasgow from Bartók, Casella, Schmitt, Sorabji (a close friend), Szymanowski and other luminaries. But he could, apparently, be a difficult man, and with his posting to Singapore by ENSA in 1943, to

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41

FORKERT, ANNIKA. "Microtonal Restraint." Journal of the Royal Musical Association 145, no. 1 (2020): 75–118. http://dx.doi.org/10.1017/rma.2020.6.

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AbstractThis article proposes that the beginnings of twentieth-century microtonal music and thinking were shaped more by restraint in composers’ thinking than by a full embrace of the principle of ‘progress for progress’s sake’. Pioneering microtonal composers such as Ferruccio Busoni, Julián Carrillo, John Foulds, Alois Hába, Charles Ives and Richard Stein constitute an international group of breakaway modernists, whose music and writings suggest four tropes characterizing this first-generation microtonal music: the rediscovery of a microtonal past, the preservation of tonality, the refinemen

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42

Klein, Michael. "Adrian Thomas, Polish Music since Szymanowski (Cambridge: Cambridge University Press, 2005), ISBN 0 521 58284 9 (hb)." Twentieth-Century Music 4, no. 2 (2007): 266–71. http://dx.doi.org/10.1017/s1478572208000558.

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43

Comtois, Justine. "Didier van Moere. 2008. Karol Szymanowski. Paris : Fayard. 695 p. ISBN 978-2-213-63774-7 (couverture cartonnée)." Intersections: Canadian Journal of Music 28, no. 2 (2008): 104. http://dx.doi.org/10.7202/029958ar.

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44

Morrison, Simon. "Adrian Thomas. Polish Music since Szymanowski. New York and Cambridge: Cambridge University Press, 2005. xxiv, 384 pp. $100.00." Canadian-American Slavic Studies 41, no. 2 (2007): 250–51. http://dx.doi.org/10.1163/221023907x01012.

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45

Kasai, Ken-ichiro, and Yutaka Ogawa. "Case Report The Successful Treatment of a Divided Nevus on a Young Patient Using a Modified Kuhnt-Szymanowski Procedure." Ophthalmic Plastic & Reconstructive Surgery 6, no. 3 (1990): 181–84. http://dx.doi.org/10.1097/00002341-199009000-00005.

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46

Zieliński, Jan. "Büchner’s Spirit: Some Digressions on an Oblique Quotation from Rilke." Tekstualia 1, no. 40 (2015): 77–86. http://dx.doi.org/10.5604/01.3001.0013.4484.

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In one of his essays, Piotr Mitzner reminds us that life, or being, according to Rilke, is supposed to be a theatre. This statement encourages a variety of digressions that pertain to a poem by Jarosław Iwaszkiewicz, and another by Aleksander Wat, an essay about aging by Ryszard Przybylski including a recollection of the last visit that Wat’s wife paid Iwaszkiewicz; another quote from Rilke in Ronald Harwood’s Quartet with entails references to Rilke and Jens Peter Jacobsen, Jacobsen and Iwaszkiewicz, Rilke’s English translator Karl Werner Maurer and his translation of The Death and the Plough

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47

Bernacka, Magdalena. "Poeta, jego biografka i kontekst rodzinny biografii." Lehahayer 4 (January 30, 2018): 233–50. http://dx.doi.org/10.12797/lh.04.2017.04.06.

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The Poet, his Biographer and the Family Context of BiographyThe Barącz family is an Armenian family which originates from Mohylów Podolski (now: Mohyliv-Podilskyi) and which was associated with Lwów since the beginning of the 19th to the middle of the 20th century. Stanisław Barącz, a poet, along with his brothers: Tadeusz, a sculptor, and Roman, a surgeon, were one of the most talented representatives of this family. Blind since childhood, Barącz notonly managed to establish his family but also a literary and artistic salon which was an important hot spot on the cultural map of 20th-century L

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48

Bias, Hanna. "Music Manuscript Collection of the Silesian School of Composing in the Karol Szymanowski Academy of Music Library in Katowice, Poland." Fontes Artis Musicae 66, no. 2 (2019): 105–21. http://dx.doi.org/10.1353/fam.2019.0013.

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49

Rosenblum, Sandra P. "Polish Music History Series, and: Szymanowski, and: Karol Szymanowski: His Life and Works, and: Grazyna Bacewicz: Her Life and Works, and: Grazyna Bacewicz: Chamber and Orchestra Music, and: Polish Music Literature (1515-1990): A Selected Annotated Bibliography, and: After Chopin: Essays in Polish Music (review)." Notes 58, no. 4 (2002): 842–46. http://dx.doi.org/10.1353/not.2002.0095.

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Porębski, Adam. "Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław." Konteksty Kształcenia Muzycznego 7, no. 1(11) (2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.

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Abstract:

It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositi

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