Music Manuscript Collection of the Silesian School of Composing in the Karol Szymanowski Academy of Music Library in Katowice, Poland

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.

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Fairbairnian approaches to King Roger , the opera by Karol Szymanowski

Attachment New Directions in Psychotherapy and Relational Psychoanalysis ◽

10.33212/att.v14n1.2020.66 ◽

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.

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Music about Music: the First String Quartet, Opus 37, in C, by Karol Szymanowski

Canadian University Music Review ◽

10.7202/1014092ar ◽

1986 ◽

pp. 171 ◽

Cited By ~ 2

Author(s):

Paul Cadrin

Keyword(s):

String Quartet ◽

Karol Szymanowski

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“Things in Themselves”

Rethinking Prokofiev ◽

10.1093/oso/9780190670764.003.0019 ◽

2020 ◽

pp. 341-364

Author(s):

Rita McAllister

Keyword(s):

Early Stage ◽

As If ◽

The Way ◽

Music Manuscript

Hidden in the composer’s archives is a series of little music-manuscript notebooks, a bit battered, as if they had been in and out of Prokofiev’s pockets. These he carried around with him, jotting down musical ideas as and when they occurred to him. The contents of such notebooks can reveal quite special aspects of their creator, exposing facets of the imagination which may well lie below the threshold of even that creator’s consciousness. Are the themes notated boldly in ink or tentatively in pencil? How important are indications of tempo or dynamics in comparison with pitches, meters, rhythms, or key signatures? What kind of second thoughts appeared at this early stage? Above all, what are the characteristics that make these themes so distinctively, unmistakably Prokofiev? This study of his thematic sketches opens up entirely new insights into the way he thought, what his compositional priorities were, and how he expressed himself to himself.

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

Music Theory Spectrum ◽

10.1093/mts/mtaa007 ◽

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).

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