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- PozycjaOpera europejska z I połowy XIX wieku w świetle „Dziennika z podróży” Karola Kurpińskiego(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022) Wąsacz-Krztoń, JolantaEven in the eighteenth century, the opera was associated with the court, and its creators were supposed not only to provide entertainment, but above all, they had to satisfy the tastes of the court audience. Therefore, the number of comic operas created at that time is not surprising. The process of change in the field of opera intensified at the end of the 18th century, when the two largest opera centers to date, Italy and France, slowly began to give way to others. A realistic picture of opera life in the first half of the 19th century in Europe was left by Karol Kurpiński, who in 1823 set off on a journey to get to know major European theaters in Vienna, Dresden, Berlin, Paris, Milan, Rome, Florence and Naples. He wrote down his remarks on the musical life of the visited cities in his "Journey Diary" to use them on his return for the Polish scene in Warsaw.
- PozycjaRené de Boisdeffre – francuski kompozytor odkryty na nowo przez Wydawnictwo Acte Préalable(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022) Mikolon, AnnaThis article aims to present the profile of a forgotten French composer of the Romantic era. René de Boisdeffre (1838-1906) was an outstanding melodist like Mozart or Schubert. It is situated close to Gabriel Fauré, Charles Gounod, and Jules Massenet. On the other hand, the fascination with Bach's polyphony indicates the influence of Camille Saint-Saëns. His work consists of miniatures with a program intended for various chamber casts. His music is full of elegance, restraint, subtlety, warmth, rich tonal colors, lightness, and charm. He is alien to sharp consonances, monumentalism, great drama, and pathos. There are also more complex forms, with a tough texture and structure, rooted in Beethoven's work. Therefore, it can conclude that the somewhat introverted nature of the artist. It is difficult to unequivocally why such beautiful and valuable chamber literature is forgotten. Fortunately, there was a passionate patron of the arts in Poland - the artistic director, producer, and publisher of Acte Préalable - Mr. Jan A. Jarnicki, who gathered a group of enthusiastic artists ready to take part in recording the phonographic mono-graph of an unknown French artist. Therefore, the article expands to include a catalog of albums released. The publishing house can play an essential role in shaping conscious recipients of art and, above all, in finding, preserving, and preserving forgotten or lost treasures of world music culture for posterity.
- PozycjaKonteksty polityczne, społeczne i kulturowe w operach portretowych Philipa Glassa(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022) Miklaszewska, JoannaThe aim of the article is to show the originality of a new genre of portrait opera, established by Philip Glass. In the operas composed in this genre one can find a combination of an innovative compositional technique and a dramatic structure with the unconventional form and content of the libretto, in which socio-political ideas and cultural contexts are introduced. These issues are presented in the article both against the background of Philip Glass's remaining operatic work and the development of American and European opera at the turn of the 20th and 21st centuries. In Philip Glass's rich operatic oeuvre, the genre of portrait opera is represented by seven operas. The first three operas that form the Trilogy: Einstein on the Beach (1976), “Satyagraha” (1979) and “Akhnaten” (1983) were described by the composer as portrait operas, but this genre is continued also in the later works: “Galileo Galilei” (2001), Kepler (2009) and “The Perfect American” (2013). The novelty of the portrait opera genre is expressed in several original genre assumptions adopted by the composer. These are: making the main characters famous historical figures who, thanks to their activities and visionary ideas, attracted societies in different epochs; strong exposure of the main character; the presence of social and political ideas in the libretto, and building acts on the juxtaposition of scenes, often resembling poetic images. The presence of political ideas occurs with uneven intensity in individual portrait operas. Two of them, the operas Satyagraha and “Akhnaten”, are political operas. In other operas, such as “Kepler, The Perfect American” and “Galileo Galilei”, political issues are only side -themes. Philip Glass's portrait operas feature also numerous and varied cultural contexts, such as the idea of multiculturalism (in “Satyagraha”) and the juxtaposition of chronologically inconsistent elements of different cultures in one work.
- PozycjaMazurki fortepianowe Teodora Leszetyckiego(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022) Nidecka, EwaTeodor Leszetycki (1830–1915) became famous as a teacher of the piano arts. Most of his life he spent in Vienna. He developed his own piano playing method, which gained recognition all over the world. However, he was also a composer. His work encompasses main piano pieces. Leszetycki’s Mazurkas are a minority among his works. He created only nine pieces of this genre. The main features of his Mazurkas are: a significant textural and dynamic-expressive contrast in the space of short musical fragments, the lack of cantilena in motifs and numerous virtuoso inserts. Leszetycki's style in his Mazurkas can be described as classical-figurative, with a clear influence of his Viennese teacher and composer Carl Czerny and Ferenc Liszt, in the meaning of the masculine style of piano playing. They show the composer as a great pianist who used an excellent piano technique. To sum up, the Mazurkas of Teodor Leszetycki were perceived more as an art of general use than highly artistic.
- PozycjaBeethoven i mit Prometeusza w dzisiejszych czasach – wybrane aspekty recepcji(Wydawnictwo Uniwersytetu Rzeszowskiego, 2022) Siedlaczek, Iwona A.The existence of the myth of Prometheus in Beethoven’s work is well-known phenomenon. In this article Die Geschöpfe des Prometheus op. 43 (The Creatures of Prometheus), one of Beethoven’s early compositions, makes a point of departure for thinking about Promethean struggle in composer’s life. The Enlightenment and early Romanticism german philosophy, Masonic philosophy, Friedrich Schiller and Johann Wolfgang von Goethe’s poetry and ideas make a context for these thoughts. The author claims that Beethoven turned to the myth of Prometheus intentionally. This subject is essential in his development as human and as an artist. Die Geschöpfe des Prometheus has been recently gladly and often played during celebration of Beethoven’s Year (2020). This matter is worth being asked for its reasons: is it only because of the musical beauty of the ballet, or maybe also because of the idea, the message, the meaning? In context of Beethoven’s thought Music is a higher revelation than all wisdom and philosophy the author asks for recent reception of composer’s work and life, being understood as the incarnation of Promethean struggle. Is this reception possible today, during pandemic, when people’s negative impact on the Earth has been clearly articulated? Is Beethoven’s portrait of the myth still relevant, considering what we know about human (“the creature of Prometheus”)? This is the question not only about music itself, but the idea contained in the music. And very legitimate question, whereas Beethoven is defined by musicologists and philosophers as one of the greatest music thinkers.