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Recepcja twórczości poetek z kręgu Skamandra w liryce wokalnej polskich kompozytorów dwudziestolecia międzywojennego

(Towarzystwo Doktorantów UJ, 2014) Karska, Kinga; Uniwersytet Jagielloński; Akademia Muzyczna im. Feliksa Nowowiejskiego w Bydgoszczy

Polscy kompozytorzy okresu dwudziestolecia międzywojennego często sięgali do tekstów współczesnych im poetów. Przykładem tego są przedstawione w artykule dwa cykle pieśni do wierszy poetek z kręgu Skamandra – Rymy dziecięce Karola Szymanowskiego, wykorzystujące twórczość Kazimiery Iłłakowiczówny, oraz Róże dla Safo Feliksa Nowowiejskiego, do których słów dostarczyły liryki Marii Pawlikowskiej-Jasnorzewskiej.

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„Europejskość nie zaprzecza polskości. Mamy do niej prawo”. Karol Szymanowski – artysta, polak, patriota

(Towarzystwo Doktorantów UJ, 2013) Makowska, Monika; Uniwersytet Jagielloński

Karol Szymanowski was a descendant of an eminent noble family whose members played many significant roles throughout Polish history and whose family hearth, the Tymoszówka manor in the now Ukraine, housed numerous memorabilia of the past (irreplaceably lost in 1918 as a result of the Bolshevik revolution). Brought up in patriotic atmosphere of post-Partition Poland, wiped out from the map of Europe, Szymanowski aimed to encourage development of Polish musical culture, first setting up the so-called Company of Young Polish Composers (together with fellow composers Ludomir Różycki, Grzegorz Fitelberg and Apolinary Szeluto under the patronage of Prince Władysław Lubomirski, a music lover and himself an amateur composer) and later accepting the post of Director of Warsaw Conservatory (having declined a counterpart offer from the Conservatory in Cairo). Although the wave of hostility from „conservative” Warsaw composers forced him to resign due to its devastating impact on his poor health, his influence on contemporary music remains undeniable.

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Dionizos Szymanowskiego. Różne oblicza boga w „Królu Rogerze”

(Towarzystwo Doktorantów UJ, 2013) Sielska, Matylda; Uniwersytet Jagielloński

The Shepherd, who introduces a radical and irreversible change in life of the eponymous character of Karol Szymanowski’s opera King Roger, is an enigmatic and mysterious figure. Portrayed as possessing godlike qualities, he nevertheless cannot be fully identified with one particular supernatural being, as shown in the works of scholars that describe him as sharing several traits with Narcissus, Eros, John the Baptist or John the Evangelist. In spite of the Shepherd being commonly referred to as Dionysus, this name (like any other) does not appear in the opera’s libretto. As stated by the author of the article, the principal three forms of this ambiguous character are Jesus Christ, Dionysus and Apollo, each of them dominating in turn in the successive acts of King Roger.

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Muzyczna interpretacja poezji w liryce wokalnej Karola Szymanowskiego

(Towarzystwo Doktorantów UJ, 2013) Karska, Kinga; Uniwersytet Jagielloński

For his whole life Karol Szymanowski wrote in total 120 songs of different genres, for voice and piano as well as for voice and orchestra, both songs within cycles that constitute musical and dramatic entities and single pieces of music. In his work there can be discerned three distinctive periods. The article presents them in view of two scholars, Zofia Helman and Mieczysław Tomaszewski. The former employs the criterion of artistic maturity, describing the three creative periods in Szymanowski’s work as, consecutively, use of existing stylistic norms, creation of own original harmonic-tonal language and turn to objectivity of expression. The latter puts emphasis on the composer’s fascinations and sources of artistic inspiration, analysing the three periods as initial „modernist” (fascination with the West and North of Europe), middle „Mediterranean” (fascination with Orient and the South of Europe) and final „Polish/national” characterized by fascination with Szymanowski’s native folklore, especially from the Kurpie and Podhale regions.

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Wielki mistrz i jego ideowy uczeń. Karol Szymanowski oczami Romana Palestra

(Towarzystwo Doktorantów UJ, 2013) Owsikowska, Anna; Uniwersytet Jagielloński

Roman Palester, acclaimed as the successor of Szymanowski less than ten years after the latter’s death, tried to continue the legacy of his mentor and personal acquaintance in the field of development of Polish music. Forced to emigrate by the circumstances following his conflict with the authorities of the People’s Republic of Poland, as the head of Polish culture department in Radio Free Europe for twenty years (1952– 1972) prepared and presented cultural programs, among them series Muzyka obala granice (Music abolishes the frontiers) in which he polemised with the principles of Socialist Realism. Despite the fact that in later phases of his composing career Palester abandoned the influence of Szymanowski to embrace modern techniques such as dodecaphony, aleatorism and sonorism, he never denied it.

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