The songs of Karol Szymanowski and his contemporaries

2007 ◽  
Vol 29 (1) ◽  
pp. 194-198
Author(s):  
Luke Howard
Keyword(s):  
Karol Szymanowski

Some Polish Composers of To-Day

Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik
Keyword(s):  
Twentieth Century ◽  
Fertile Soil ◽  
Early Twentieth Century ◽  
Progressive Group ◽  
Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

Fairbairnian approaches to King Roger , the opera by Karol Szymanowski

2020 ◽  
Vol 14 (1) ◽  
pp. 66-86
Author(s):  
Graham S. Clarke
Keyword(s):  
Object Relations ◽  
Object Relations Theory ◽  
Personal Relations ◽  
Karol Szymanowski

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 read Thinking Through Fairbairn (Clarke, 2018a), in particular chapters two, three, and four, as well as my paper in the journal Attachment (Clarke, 2018b) on MPD/DID and Fernando Pessoa's heteronyms.

Examining Keyboard Bitonality in the Middle-Period Music of Karol Szymanowski

2020 ◽  
Vol 42 (2) ◽  
pp. 305-325
Author(s):  
Alan Reese
Keyword(s):  
Violin Concerto ◽  
Pitch Class ◽  
Black And White ◽  
Period Style ◽  
Middle Period ◽  
Karol Szymanowski

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, Julian Hook’s (2007) interscalar transformations, and what I call SHIFT transformations. Analyzed works include: Masks (1916), Métopes (1915), Myths (1915), Twelve Etudes (Op. 33, 1916), and Violin Concerto No. 1 (1916).

Szymanowski on Music: Selected Writings of Karol Szymanowski (review)

Notes ◽  
2000 ◽  
Vol 57 (1) ◽  
pp. 144-145
Author(s):  
Laura Grazyna Kafka
Keyword(s):  
Karol Szymanowski

scholarly journals Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany

2019 ◽  
pp. 7-16
Author(s):  
Teresa Malecka
Keyword(s):  
Twentieth Century ◽  
Publishing House ◽  
Musical Work ◽  
Creative Development ◽  
Witold Lutoslawski ◽  
Music Publishing ◽  
Nodal Points ◽  
Krzysztof Penderecki ◽  
Karol Szymanowski ◽  
Different Levels

The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.

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