DOCSLIB.ORG

National Folk Song and Dance Ensemble Mazowsze 2021-10-02, 08:29

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
National Folk Song and Dance Ensemble Mazowsze 2021-10-02, 08:29 National Folk Song and Dance Ensemble Mazowsze https://www.mazowsze.waw.pl/en/repertoire/the-ensembles-repertoir/4,The-ensembles-repertoire.html 2021-10-02, 08:29 The ensemble’s RomancaRomanca àà lala kujawiak;kujawiak; PolishPolish Bethlehem;Bethlehem; photo:photo: repertoire photo:photo: MonikaMonika SłęckaSłęcka MonikaMonika SłęckaSłęcka TheThe MagicalMagical JourneyJourney –– AllAll ofof TheThe KaleidoscopeKaleidoscope ofof PolishPolish The ensemble’s OurOur BeautifulBeautiful Poland;Poland; Colors;Colors; photo:photo: EwaEwa photo:photo: MonikaMonika SłęckaSłęcka ŻukowskaŻukowska repertoire Ladies and Gentlemen, We are an established, The Land of Dreams – A Supposed Miracle, or The Land of Dreams – A Supposed Miracle, or nationalnational dancesdances internationally known CracoviansCracovians andand HighlandersHighlanders company. We have been present in the music market for sixty-seven years! This is a guarantee of our artistic Patriotic Songs success to you. FolkFolk Songs;Songs; photo:photo: EwaEwa Patriotic Songs ŻukowskaŻukowska So far, we have performed for over eighteen million people. We have travelled 1.4 million miles (2.3 million SacredSacred MusicMusic ChristmasChristmas CarolsCarols andand SongsSongs kilometers) and visited 189 places in Poland and 50 countries abroad. Promoting the national songs and dances of Poland, we have FantasyFantasy onon PolandPoland –– PolishPolish TheThe Pilgrim;Pilgrim; photophoto PiotrPiotr NationalNational Dances;Dances; photo:photo: Pasieczny/Pasieczny/ FOTOBUENOFOTOBUENO gained popularity and the MonikaMonika SłęckaSłęcka title ofAmbassador of Polish Culture. Mazowsze is one of the world’s biggest artistic ensembles, drawing from an abundance of our national dances, songs, chants, and traditions. At our roots there are sources which emphasize that in these changing times, we remain who we are. Because of the vast richness of our repertoire, Mazowsze is frequently referred to as a national ensemble. For thousands of viewers abroad, Mazowsze’s concerts were their first contact with Polish culture. “If that is the face of Poland, then long live Poland!” – that is what a Swiss paper “Gazette de Lausanne” wrote about the ensemble. Jerzy Waldorff called Mazowsze the crown jewel of the Republic of Poland. Christmas Carols and songs, performed by Mazowsze’s soloists, ballet, and orchestra, are traditionally interpreted. It is an emotional rendering of the most popular carols, as well as an opportunity to hear the lesser-known pieces, such as Serca ludzkie się radują [Hearts Are Rejoicing], or Święta Panienka [Our Holy Lady]. Though they all pertain to the same event, they differ substantially. In some, the listener can hear the rhythm of mazur or oberek, in others – of polonaise. Most are filled with joy, but some are wistful. Our new concert proposals The Kaleidoscope of Polish Colors A full performance concert comprised of Polish songs as well as national and regional dances. Colors changing as in a kaleidoscope, music bringing unforgettable emotions, dancing and singing, singing and dancing – the concert program includes the most popular songs and the most captivating choreographies from the ensemble’s repertoire (prepared by Elwira Kamińska, Eugeniusz Papliński, but mainly by Witold Zapała). The audience can also admire the beautiful costumes from twenty different ethnographic regions of Poland. In the whirlpool of colors there will be national dances such as polonaise, krakowiak, oberek, mazur, and kujawiak, as well as regional dances accompanied by the characteristic, original chants. “If that is the face of Poland, then long live Poland!” (ʺGazette de Lausanne”, Switzerland) Cud mniemany czyli Krakowiacy i Górale [A Supposed Miracle, or Cracovians and Highlanders] Directed by Andrzej Strzelecki. A musical performance based on Wojciech Bogusławski’s opera. This is the first Polish opera of the Enlightenment period, with Jan Stefani’s music and Wojciech Bogusławski’s libretto. Directed by Andrzej Strzelecki, it was staged by Mazowsze for the ensemble’s 65th anniversary. In Mazowsze’s interpretation, it is a humorous and moving story about love, friendship and conflict, but most importantly about reconciliation and forgiveness. Colorful regional costumes, beautiful music, the actors’ brilliant skills (especially in their use of regional dialects) as well as a generous dose of humor – all these features combined result in a standing ovation at the end of each performance. This is where the past connects with the present. Mazowsze in an alternative artistic form – it’s a must- see! Directed by: Andrzej Strzelecki Adapted by: Andrzej Strzelecki Choreographer: Zofia Rudnicka Set decorator: Tatiana Kwiatkowska Musical director: Jacek Boniecki Assistant director: Zdzisław Kordyjalik Assistant choreographer: Piotr Zalipski The Magical Journey – All of Our Beautiful Poland Directed by Zbigniew Kułagowski. An educational performance for children. The magical world of contemporary theater invites the youngest viewers to an amazing journey! The fictional story features three main characters – little Agnieszka, her older brother Tomek, and Mr. Kajetan, the mysterious restorer of old folk musical instruments. They will take you for a surprising journey full of unexpected adventures. Together with them, you will learn about unusual folk handicraft such as “leluja” – a kind of artistic cut-outs from the region of Kurpie, intricately decorated huge Easter palms, or a hand- painted dowry chest from Wilamowice. You will get to know some characteristic folk dances, costumes, customs, and traditions. You will find out about traditional folk instruments (“burczybas”, “diabelskie skrzypce” [devil’s violin], and “kozioł weselny”). The journey will take you to eight fascinating, colorful regions: Mazowsze (Wilanów), Kurpie, Kaszuby, Wielkopolskę (Szamotuły), Śląsk (Wilamowice and Rozbark), Spisz (Jurgów), and Lubelszczyzna (Krzczonów). The colorful world young viewers experience fascinates them, and teaches them to respect Polish traditions of folk culture. Each of the visited regions is illustrated with impressive regional dance presentations, and the costumes worn by dancers are real works of folk art. The individual parts of the performance are linked by computer animations, which present characteristic regional costumes in a close- up, with their ornaments and embroidery. The animations are accompanied by musical themes characteristic of the regions presented. This unusual theatrical performance is presented by the ballet and orchestra of the National Folk Song and Dance Ensemble Mazowsze, and the actors. Written and directed by: Zbigniew Kułagowski Musical director and arranger: Krystian Segda Choreography supervision: Wioletta Milczuk Graphic animation: Dawid Kozłowski Film director and editor: Tomasz Kurlej Photographs: Jan Drzewiecki Cast: the ballet and orchestra of the National Folk Song and Dance Ensemble Mazowsze Director: Jacek Boniecki / Andrzej Borzym Jr Singer: Paulina Patora / Klaudia Pawlikowska / Katarzyna Sajewiec Violinist: Jędrzej Nalaskowski / Michał Ostrowski Actors: Mr. Kajetan: Piotr Macalak / Jacek Leptacz Agnieszka: Julia Dominiak / Anna Kowalczyk Tomek: Paweł Klociński / Mateusz Zawada The Land of Dreams – national dances Directed by Roberto Skolmowski. An educational performance for children. An educational performance In the land of dreams everything is possible... A group of children visit the home of Mazowsze – the place where the dreams of the ensemble’s first dancers and founders came true. During their visit, the children begin dreaming about art. In their imagination they see themselves as dancers and musicians. They get to know the work of an artist and find out what the stage is all about. In accordance with the director Roberto Skolmowski’s vision, the story aims to show the beauty and richness of Polish national dances. It is acquired through costumes, music, and advanced multimedia projection techniques. Staged and directed by: Roberto Skolmowski Multimedia design and film: Wojciech Hejno Choreography supervision: Wioletta Milczuk Photography: Jan Drzewiecki On stage: the ballet and the orchestra of the National Folk Song and Dance Ensemble Mazowsze Conducted by: Jacek Boniecki / Andrzej Borzym Jr Narrated by: Klara Rejnowicz Romanca à la kujawiak Directed by Zbigniew Kułagowski The new proposal in the ensemble’s repertoire is addressed to young people. The strength of the performance lies in its attractive theatrical form of fiction. The story is based on blossoming romantic feelings between two young people – a high school senior and a university student. Following their accidental meeting, their amusing romantic experiences, and their fascination with music and dance, the audience is taken on a journey through the world of national dances of Poland, such as polonaise, mazur, kujawiak, oberek, and krakowiak. Educational values have been discreetly incorporated within the dynamic story, whose grand finale is the magnificent polonaise danced at the senior prom. The audience learns the history and form of the five Polish national dances by witnessing staged rehearsals of a dance ensemble and their striking presentations by the ballet and the orchestra of the National Folk Song and Dance Ensemble Mazowsze. Written and directed by Zbigniew Kułagowski Music director Jacek Boniecki Choreography Elwira Kamińska, Zbigniew Kiliński, Wioletta Milczuk, Eugeniusz Papliński, Witold Zapała Lighting Łukasz Różewicz Cast: Paulina: Paulina Patora Mateusz: Mateusz Zawada Dance instructor:
Load more

Recommended publications
  • Chopin's Nocturne Op. 27, No. 2 As a Contribution to the Violist's
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2014 A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory Rafal Zyskowski Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zyskowski, Rafal, "A tale of lovers : Chopin's Nocturne Op. 27, No. 2 as a contribution to the violist's repertory" (2014). LSU Doctoral Dissertations. 3366. https://digitalcommons.lsu.edu/gradschool_dissertations/3366 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A TALE OF LOVERS: CHOPIN’S NOCTURNE OP. 27, NO. 2 AS A CONTRIBUTION TO THE VIOLIST’S REPERTORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Rafal Zyskowski B.M., Louisiana State University, 2008 M.M., Indiana University, 2010 May 2014 ©2014 Rafal Zyskowski All rights reserved ii Dedicated to Ms. Dorothy Harman, my best friend ever iii ACKNOWLEDGMENTS As always in life, the final outcome of our work results from a contribution that was made in one way or another by a great number of people. Thus, I want to express my gratitude to at least some of them.
    [Show full text]
  • Chopin and Poland Cory Mckay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1
    Chopin and Poland Cory McKay Departments of Music and Computer Science University of Guelph Guelph, Ontario, Canada, N1G 2W 1 The nineteenth century was a time when he had a Polish mother and was raised in people were looking for something new and Poland, his father was French. Finally, there exciting in the arts. The Romantics valued is no doubt that Chopin was trained exten- the exotic and many artists, writers and sively in the conventional musical styles of composers created works that conjured im- western Europe while growing up in Poland. ages of distant places, in terms of both time It is thus understandable that at first glance and location. Nationalist movements were some would see the Polish influence on rising up all over Europe, leading to an em- Chopin's music as trivial. Indeed, there cer- phasis on distinctive cultural styles in music tainly are compositions of his which show rather than an international homogeneity. very little Polish influence. However, upon Fryderyk Franciszek Chopin used this op- further investigation, it becomes clear that portunity to go beyond the conventions of the music that he heard in Poland while his time and introduce music that had the growing up did indeed have a persistent and unique character of his native Poland to the pervasive influence on a large proportion of ears of western Europe. Chopin wrote music his music. with a distinctly Polish flare that was influ- The Polish influence is most obviously ential in the Polish nationalist movement. seen in Chopin's polonaises and mazurkas, Before proceeding to discuss the politi- both of which are traditional Polish dance cal aspect of Chopin's work, it is first neces- forms.
    [Show full text]
  • Rimsky-Korsakov Overture and Suites from the Operas
    CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource.
    [Show full text]
  • The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
    THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.
    [Show full text]
  • Romantic Era Character Pieces Chopin Polonaise in a Flat Op
    ROMANTIC ERA CHARACTER PIECES CHOPIN POLONAISE IN A FLAT OP. 53 Early life Frédéric François Chopin was born on February 22, 1810, near Warsaw, Poland. He was the second of four children of Nicholas Chopin, a Frenchman, and his Polish wife, Justina, who had been a well-educated but poor relative in the Skarbek household, where Nicholas had been a tutor. At an early age, Chopin displayed artistic talents—he was an artist, wrote poetry, and played piano without any formal instruction. The gifted child also began composing his own music and had his first piece of music published when he was just seven years old. Young Chopin had a good education and later studied music privately with Joseph Elsner, founder and director of the Warsaw Conservatory. In 1817 Chopin's first composition was performed publicly. A year later he himself performed in public, playing a concerto (music written for one or more instruments) by Adalbert Gyrowetz. By this time the young Chopin began drawing comparisons to Wolfgang Amadeus Mozart (1756–1791), another composer who had demonstrated spectacular talent at a young age. Musical training In 1826 Chopin became a full-time student at Elsner's conservatory, where he received an excellent foundation in theory, harmony, and melody. Elsner, after recognizing that Chopin's style was too original to force into traditional patterns, granted Chopin the freedom to develop along clear personal lines. After visiting Berlin, Germany, where Chopin was exposed to the music of George Frederick Handel (1685–1759) and Felix Mendelssohn (1809–1847), Chopin returned to Warsaw and heard Nicolò Paganini (1782–1840).
    [Show full text]
  • Traditional Polish Dances
    Dance and Music Show in Traditional Primary School in Stara Słupia Polish dances Primary school students under the guidence of Poland is a country rich teachers prepared a dance a music show for in culture and tradition the school’s community in January 2013. Students wore regional costumes and sang our traditional Świętokrzyskiesongs, the performan- ce was recorded and presented during the Co- menius Meeting in Spain in February 2013. The Krakowiak, the Mazur, the Polonez (Polonaise), the Kujawiak, and the Oberek The Google browser resourses were used in this publication The content of this publication is the sole responsibility of its publisher and does not represent the views of the Eu- ropean Commission. The Polish National Dances Polish folk dances are lively, energetic, and Krakowiak is a Polish dance from the re- Polonaise or Polonez, evolved from a dance joyful. Hops, twirls, and fast movements are com- gion of Kraków, the old capital of Poland called the Chodzony (Walking Dance) in the mon. Many dances involve a circle. and the center of southern part of the coun- 15th century. As you might guess from the try, called Małopolska (Little Poland). This Folklore costumes are usually colorful in all description the dancers walk around the dan- dance imitates the steps and movement, of Polish regions. Women often wear coral necklaces, ce floor. It was danced even by royalty and horses which were loved in the Krakow re- usually red ones. They also decorate their hair with nobility. Polonaise is danced in carnival par- gion. Krakowiak is set for several couples, flowers and ribbons.
    [Show full text]
  • The Piano Genre of the Nineteenth-Century Polonaise
    THE PIANO GENRE OF THE NINETEENTH-CENTURY POLONAISE by BARBARA M. SIEMENS B.Mus., The University of British Columbia, 1986 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (School of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 2002 © Barbara M. Siemens , 2002 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. School of Music The University of British Columbia Vancouver, Canada Date Abstract The polonaise is a genre whose history reaches back over four hundred years. In recent times, the style has come to be characterized by the rhythm found in many nineteenth-century examples in the piano literature. However, while this rhythm is a typical feature in most Romantic samples, the term "typical" becomes problematic when viewing polonaises written in nineteenth-century Poland, as well as in eighteenth-century Germany. In these cases, the above pattern is given a less prominent role and is replaced by other rhythmic features. This dissimilarity between the polonaises of various periods calls into question the validity of labelling a primary characteristic unilaterally "typical." Is it possible to make one statement regarding the basic rhythmic characteristics of a polonaise, or is it more accurate to create definitions which vary according to historical context? The answer lies in an examination of the rhythmic characteristics as they occur, and not as they are thought to occur, throughout the history of the genre.
    [Show full text]
  • National Folk Song and Dance Ensemble Mazowsze 2021-09-25, 16:23
    National Folk Song and Dance Ensemble Mazowsze https://www.mazowsze.waw.pl/en/news/519,The-premiere-performance-of-Romanca-la-kujawiak.html 2021-09-25, 16:23 The premiere performance of Romanca à la kujawiak On October 3, in Mazowsze’s Performance Hall, the ensemble’s new performance, Romanca à la kujawiak, premiered. The new proposal in the ensemble’s repertoire is addressed to young people. The strength of the performance lies in its attractive theatrical form of fiction, narrated with humor and energy. Educational values have been discreetly incorporated within the dynamic story, whose grand finale is the magnificent polonaise danced at the senior prom. The story is based on blossoming romantic feelings between two young people – a high school senior and a university student. Following their accidental meeting, their amusing romantic experiences, and their fascination with music and dance, the audience is taken on a journey through the world of national dances of Poland, such as polonaise, mazur, kujawiak, oberek, and krakowiak. The audience learns the history and form of the five Polish national dances by witnessing staged rehearsals of a dance ensemble. The writer and director, Zbigniew Kułagowski, brilliantly combines the past with the present, and shows the beauty of Polish folk culture to the young viewers. He succeeds thanks to an interesting storyline, captivating music, beautiful folk costumes, and intricate choreographies. The young viewers liked the story. Humorous scenes amused the audience, and the scenes presenting the national dances, performed by the ensemble’s ballet, were rewarded with applause. Written and directed by – Zbigniew Kułagowski Music director – Jacek Boniecki Choreography – Zbigniew Czapski-Kłoda, Elwira Kamińska, Zbigniew Kiliński, Wioletta Milczuk, Eugeniusz Papliński, Witold Zapała Cast: Paulina – Paulina Patora Mateusz – Mateusz Zawada Dance instructor – Marcin Mierzejewski The Professor – Zdzisław Kordyjalik Ms.
    [Show full text]
  • Polish National and Folk Elements Revealed in Selected Pieces By
    POLISH NATIONAL AND FOLK ELEMENTS REVEALED IN SELECTED PIECES BY HENRYK WIENIAWSKI by TERESA ALICJA GRYNIA (Under the Direction of LEVON AMBARTSUMIAN) ABSTRACT Among Henryk Wieniawski’s works are the highly advanced violin compositions such as Violin Concerti, Theme Original Varie, Polonaises or Capriccio-Valse. His music also covers less complex pieces that introduce violinists to his musical style, techniques and selection of motives which often have their roots in traditional Polish music. The composer spent most of his life traveling or as an active musician and teacher in Russia. Therefore, research on his music is available mostly in Polish - his native language and Russian. English speakers would highly benefit from having access to English texts that analyze Wieniawski’s works. The purpose of the present study is to create an intercultural bridge between the Polish musician and the English- speaking audience. INDEX WORDS: Polish music, violin music, mazurka, folk music, national music, interpretation, violin performance practice, POLISH NATIONAL AND FOLK ELEMENTS REVEALED IN SELECTED PIECES BY HENRYK WIENIAWSKI by TERESA ALICJA GRYNIA B.M., Academy of Music, Cracow, Poland, 2013 M.M., University of Georgia, Athens, USA, 2015 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS ATHENS, GEORGIA 2018 © 2018 TERESA ALICJA GRYNIA All Rights Reserved POLISH NATIONAL AND FOLK ELEMENTS REVEALED IN SELECTED PIECES BY HENRYK WIENIAWSKI by TERESA ALICJA GRYNIA Major Professor: LEVON AMBARTSUMIAN Committee: MILTON MASCIADRI CLINTON TAYLOR Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia August 2018 TO MY PARENTS iv ACKNOWLEDGEMENTS I would like to thank Prof.
    [Show full text]
  • RIMSKY-KORSAKOV's ANTAR SYMPHONY: a BIOGRAPHICAL and ANALYTICAL STUDY by Nicolas Krusek a THESIS SUBMITTED in PARTIAL FULFILLM
    RIMSKY-KORSAKOV’S ANTAR SYMPHONY: A BIOGRAPHICAL AND ANALYTICAL STUDY by Nicolas Krusek A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2014 © Nicolas Krusek, 2014 Abstract Rimsky-Korsakov composed his Symphony No. 2, Antar, in 1868, during his apprenticeship to Balakirev and involvement with The Five. Based on an oriental tale by Osip Senkovsky, it was the first multi-movement, programmatic orchestral work in Russian music. Rimsky-Korsakov revised Antar twice, in 1875 – by which time he was a professor at the Saint Petersburg Conservatory – and 1897. This thesis will examine the original 1868 version of Antar by placing it in the context of his career and the influences that shaped his style. The first chapter presents a biographical sketch of Rimsky-Korsakov, with emphasis on his education and training, including his studies with Balakirev in the 1860s and his rigorous course of self- education in harmony, counterpoint, form, and orchestration in the 1870s. The second chapter begins with a summary of the tale by Senkovsky upon which the music is based, followed by an analysis of the themes, harmony, and orchestration of each movement of Antar. I will show how the form and character of the work are indebted to ideas espoused by Balakirev and The Five, including their fondness for program music, orientalism, unconventional scales and modes, and harmonic progressions based on common tones. I will also draw attention to aspects of the tonal organization and scoring that are elaborated in the composer’s textbook, the Practical Manual of Harmony.
    [Show full text]
  • The Piano Concertos of John Field (1782 – 1837)
    The Piano Concertos of John Field (1782 – 1837) By Philip R Buttall PLYMOUTH © PRB MUSIC 2005 ii CONTENTS Preface iii Introduction & Biographical Details 1 The Concertos (1799 – 1832): 15 No. 1 in E flat major 16 No. 2 in A flat major 25 No. 3 in E flat major 40 No. 4 in E flat major 52 No. 5 in C major 69 No. 6 in C major 84 No. 7 in C minor 101 Field and the Piano 127 Field and the Orchestra 143 Field and Concerto Form 169 Bibliography 183 Discography 184 Index 185 iii PREFACE One of the problems for the modern listener or student, wishing to become better acquainted with the seven piano concertos of John Field, is the lack of readily available scores for all but the first three works. In 1961 Musica Britannica published full scores of these first three concertos, but the projected second volume incorporating the last four concertos has not appeared. In preparing this study, the writer was fortunate to be able to refer to manuscript scores of the Fourth and Sixth Concertos, kindly loaned by the late Patrick Piggott, author of The Life and Music of John Field – Creator of the Nocturne , who had earlier assembled these from the full sets of orchestral parts in the British Museum. The BBC Music Library has a full score of the Seventh Concerto, again compiled from the orchestral parts, as well as an early nineteenth-century copy of the score of the Fifth Concerto, which could just possibly be in Field’s own hand.
    [Show full text]
  • National Folk Song and Dance Ensemble Mazowsze
    National Folk Song and Dance Ensemble Mazowsze https://www.mazowsze.waw.pl/en/news/601,Concert-MAZOWSZE-TO-NIEPODLEGLA-at-the-Podlasie-Opera-and-Phi lharmonic-in-Bialys.html 2021-10-01, 15:13 Concert “MAZOWSZE TO NIEPODLEGŁA ” at the Podlasie Opera and Philharmonic in Białystok On February th, 19 Mazowsze’s soloists, choir, ballet, and orchestra, directed by maestro Jacek Boniecki, gave the concert “MAZOWSZE TO NIEPODLEGŁA.” It was part of the celebrations of the 100th anniversary of regaining independence by Białystok. It also included the award ceremony for the “Person of the Century,” which took place in at the Podlasie Opera and Philharmonic. The concert “MAZOWSZE TO NIEPODLEGŁA” is a special project prepared for the double jubilee – the 70th anniversary of Mazowsze and the 100th anniversary of regaining independence by Poland. Its program includes patriotic songs, pertaining to the historic events of 1918, which perfectly fit into the celebration of the 100th anniversary of regaining independence. It also includes the most famous songs and dances from the ensemble’s rich repertoire. During the concert, the audience applauded folk songs sung by Mazowsze, which were very well-known to them. The artists presented some of the most beautiful and colorful things in Polish folklore, with the accompaniment of Mazowsze’s symphonic orchestra. In a whirlpool of colors, the audience witnessed Polish national dances, like the polonaise, oberek, mazur, or kujawiak, and also some regional dances, together with the characteristic, original chants, for example Highland and Dzierżaki dances. There was a dance suite based on the folklore from Limanowa, and a beautiful dance routine from Zielona Góra.
    [Show full text]