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Akademia Muzyczna Im. Karola Lipińskiego We Wrocławiu Wydział Instrumentalny

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Akademia Muzyczna Im. Karola Lipińskiego We Wrocławiu Wydział Instrumentalny Akademia Muzyczna im. Karola Lipińskiego we Wrocławiu Wydział Instrumentalny mgr Marcin Ostrowski ROLA MINIATUR NA SKRZYPCE I FORTEPIAN W PIERWSZEJ POŁOWIE XX WIEKU I ICH RÓŻNORODNOŚĆ STYLISTYCZNA NA PODSTAWIE WYBRANYCH KOMPOZYCJI praca doktorska Pod kierunkiem dr hab. Wiktora Kuzniecowa Wrocław 2018 PODZIĘKOWANIA Pragnę podziękować osobom, bez których ta praca nie mogłaby powstać. Przede wszystkim nauczycielom: prof. Michaiłowi Kuzniecowowi za zaszczepienie we mnie pasji i miłości do muzyki; dr hab. Wiktorowi Kuzniecowowi za wiedzę i umiejętności oraz Ś.P. prof. Wojciechowi Malińskiemu, który pozwolił mi uwierzyć w siebie i zachęcał do stawiania sobie najambitniejszych celów. Dziękuję Pani Katarzynie Kaczorowskiej, która towarzyszy mi przy fortepianie od najmłodszych lat, dzieląc się pozytywnym usposobieniem i muzycznym doświadczeniem, które zaowocowało przy wspólnych nagraniach. Jestem wdzięczny rodzicom za niezachwianą wiarę w moje możliwości i wszelkie wsparcie, na które zawsze mogę liczyć. Dziękuję też żonie Aleksandrze za motywację i siłę, jakiej dodawała mi walcząc z jeszcze większym wyzwaniem – chorobą nowotworową. STRESZCZENIE Rola miniatur na skrzypce i fortepian w pierwszej połowie XX wieku i ich różnorodność stylistyczna na podstawie wybranych kompozycji autor: mgr Marcin Ostrowski promotor: dr hab.Wiktor Kuzniecow Przedmiotem moich badań były miniatury na skrzypce i fortepian w pierwszej połowie XX wieku, ze szczególnym uwzględnieniem jedenastu wybranych utworów: Clair de lune C. Debussy'ego (w opracowaniu A. Roelensa), 4 Stücke op. 7 A. Weberna, Estrellita M. Ponce (w opracowaniu J. Heifetza), Rumuńskie tańce ludowe B. Bartóka (w opr. Z. Szekely), Berceuse op.79 nr 6 i Mazurka op. 81 nr 1 J. Sibeliusa, Berceuse sur le nom de Gabriel Fauré M. Ravela, La Berceuse d'Äitacho Enia K. Szymanowskiego, Kaprys cygański F. Kreislera, Abodah E. Blocha oraz Song-Poem A. Chaczaturiana. Celem pracy doktorskiej było udowodnienie, że miniatura pełniła istotną rolę w wielu przekrojach muzycznego życia w badanym okresie, osiągając również apogeum różnorodności stylistycznej. Praca pisemna składa się trzech rozdziałów, podsumowania i wykazu materiałów źródłowych. Pierwszy rozdział dotyczy systematyki przyjętej do dalszych badań i historii miniatury instrumentalnej. Drugi rozdział przedstawia rolę, jaką przyjęła miniatura skrzypcowa w kontekście społecznym, twórczym i wykonawczym w pierwszej połowie XX wieku. W rozdziale trzecim prezentuję badania dotyczące wybranych twórców i ich dzieł. W podrozdziałach opisuję życiorys i charakterystykę twórczości kompozytorów, a także genezę oraz analizę formalno-wykonawczą poszczególnych utworów. W podsumowaniu przedstawiam wnioski wynikające z badań i własne spostrzeżenia. Do pracy dołączone jest nagranie dzieła artystycznego na nośniku CD. ABSTRACT The role of miniatures for violin and piano in the first half of the twentieth century and their stylistic diversity based on selected compositions author: mgr Marcin Ostrowski supervisor: dr hab.Wiktor Kuzniecow The subject of my research were miniatures for violin and piano in the first half of the twentieth century, with special reference to eleven selected works: Clair de lune by C. Debussy (arr. A. Roelens), 4 Stücke op. 7 by A. Webern, Estrellita by M. Ponce (arr. J. Heifetz), Romanian folk dances by B. Bartók (arr. Z. Szekely), Berceuse op.79 No. 6 and Mazurka op. 81 No. 1 by J. Sibelius, Berceuse sur le nom Gabriel Fauré by M. Ravel, La Berceuse d'Äitacho Enia by K. Szymanowski, Gypsy caprice by F. Kreisler, Abodah by E. Bloch and Song-Poem by A. Khatchaturian. The aim of the PhD dissertation was to prove that the miniature played an important role in many cross-sections of musical life in the analyzed period, also reaching the apogee of stylistic diversity. The written thesis consists of three chapters, a summary and a bibliography. The first chapter deals with the systematics adopted for further research and the history of instrumental miniature. The second chapter presents the role of the violin miniature in a social, creative and executive context in the first half of the 20th century. In the third chapter, I present research on selected artists and their works. In the sub-sections, I describe the biography and characteristics of the composers' work, as well as the genesis and formal and executive analysis of individual works. In the summary, I present the conclusions from the research and my own observations. The work includes a CD recording attached. CZĘŚĆ I DZIEŁO ARTYSTYCZNE W PRACY DOKTORSKIEJ W POSTACI ZAPISU ELEKTRONICZNEGO Utwory: 1. Claude Debussy - Clair de lune (arr. A. Roelens) 2. Anton Webern - Vier stücke (Cztery utwory na skrzypce i fortepian) op. 7 3. Manuel Ponce - Estrellita (arr. Heifetz) 4. Bela Bartók - Rumuńskie tańce ludowe (arr. Szekely) 5. Jean Sibelius - Berceuse op.79 nr 6 6. Jean Sibelius - Mazurka op. 81 nr 1 7. Maurice Ravel - Berceuse sur le nom de Gabriel Fauré 8. Karol Szymanowski - La Berceuse d'Äitacho Enia 9. Fritz Kreisler - Kaprys cygański 10. Ernest Bloch - Abodah 11. Aram Chaczaturian - Song-Poem Współwykonawca: Katarzyna Kaczorowska - fortepian Miejsce nagrania: Sala Koncertowa Akademii Muzycznej im. K. Lipińskiego we Wrocławiu Na ostatniej wewnętrznej stronie okładki znajduje się koperta z CD – elektroniczny zapis dzieła artystycznego pracy doktorskiej. CZĘŚĆ II OPIS DZIEŁA ARTYSTYCZNEGO PRACY DOKTORSKIEJ SPIS TREŚCI WSTĘP........................................................................................................................................2 1. ROZDZIAŁ I - Definicja i historia miniatury instrumentalnej 1.1. Klasyfikacja miniatur na skrzypce i fortepian......................................................... 4 1.2. Początki miniatury instrumentalnej......................................................................... 8 2. ROZDZIAŁ II - Rola miniatur na skrzypce i fortepian w I połowie XX wieku 2.1. Czynniki determinujące rozwój miniatury skrzypcowej w I połowie XX wieku...11 2.2. Rola miniatur instrumentalnych w twórczości kompozytorów I połowy XX wieku...........................................................................................15 2.3. Miejsce małych form instrumentalnych w rozwoju i repertuarze wybitnych skrzypków I połowy XX wieku.........................................................................22 3. ROZDZIAŁ III - Wybrane dzieła i ich twórcy 3.1.1. Claude Debussy...................................................................................................26 3.1.2. Clair de lune (arr. A. Roelens)............................................................................ 30 3.2.1. Anton Webern......................................................................................................33 3.2.2. Vier stücke (Cztery utwory na skrzypce i fortepian) op. 7.................................. 37 3.3.1. Manuel Ponce......................................................................................................42 3.3.2. Estrellita (arr. Heifetz)........................................................................................ 45 3.4.1. Bela Bartók......................................................................................................... 48 3.4.2. Rumuńskie tańce ludowe (arr. Szekely) ............................................................ 53 3.5.1. Jean Sibelius .......................................................................................................59 3.5.2. Berceuse op.79 nr 6.............................................................................................64 3.5.3. Mazurka op. 81 nr 1............................................................................................66 3.6.1. Maurice Ravel.....................................................................................................69 3.6.2. Berceuse sur le nom de Gabriel Fauré............................................................... 73 3.7.1. Karol Szymanowski............................................................................................75 3.7.2. La Berceuse d'Äitacho Enia................................................................................80 3.8.1. Fritz Kreisler....................................................................................................... 84 3.8.2. Kaprys cygański.................................................................................................. 87 3.9.1. Ernest Bloch........................................................................................................91 3.9.2. Abodah................................................................................................................ 96 3.10.1. Aram Chaczaturian.......................................................................................... 101 3.10.2. Song-Poem...................................................................................................... 104 PODSUMOWANIE.................................................................................................................110 WYKAZ MATERIAŁÓW ŹRÓDŁOWYCH.........................................................................113 ANEKS....................................................................................................................................118 1 WSTĘP Moje zainteresowanie tematyką miniatury skrzypcowej sięga czasów nauki wczesnoszkolnej, gdy kasety z nagraniami Jaschy Heifetza, Fritza Kreislera i Dawida Ojstracha kształtowały mój muzyczny gust. Wykonawcy ci zdobyli zarówno szacunek środowiska
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