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We get to know Fryderyk Chopin's personality through countless sources of all kinds and origins. Two types come to the fore, which complement each other: Chopin's music and Chopin's letters. When we read the letters the figure of their author appears before our eyes in - sometimes pedantic - detail. Chopin is shown as a person living life with his head in the clouds on the one hand but keeping his...
Relationships between Cyprian Norwid and Fryderyk Chopin are one of the most interesting pages in nineteenth-century Polish and European literatures. The historic meeting of the two great Romantic artists, who are part both of Polish national culture and of the world's ideological and artistic heritage, has already been studied and described many times and in many aspects, especially in Polish literary...
The object of analysis are handwritten musical fragments, previously superficially examined, which Fryderyk Chopin wrote on the last page of the manuscript of 'Trio in G minor' Op. 8 [ref. no. Tic: M/1] at the turn of 1829/1830. The author rejects Krystyna Kobylanska's suggestion that 'this is a draft autograph of piano part fragments' [Kobylanska 1977: catalogue no. 80]. The purpose of the analysis...
The author's method of analytical sketch introduces the structural properties of selected evolutionary one-movement works by Fryderyk Chopin: 4 'Scherzos', 4 'Ballades', 'Fantasia in F minor' Op. 49 and 'Barcarole in F sharp major' Op. 60. Special attention was paid to the uniqueness of Chopin's creative concepts. In 'Scherzo No. 1 in B minor', 'Scherzo No. 2 in B flat minor', 'Ballade No. 2 in F...
Karol Szymanowski's views on Fryderyk Chopin's legacy, which he formed in the 1920s, played a significant role in the development of the contemporary model of reception of the music composed by the master of Polish Romanticism. They largely contributed to a move away from the dominant nineteenth-century tradition of heteronomic description of Chopin's music for the development of analytical methods...
Chopin's 'Barcarole in F sharp major' Op. 60 is one of the compositions characterized by an especially ample reception. The work was frequently described in programmatic terms, which can be called 'external' impressions but at the same time these impressions were marked by a certain detachment from internal musical phenomena that could determine programmatic interpretations of one kind or another...
The present article is an analytical insight into the expressive layer of Fryderyk Chopin's 'Polonaise in F sharp minor' Op. 44. Of special interest is the eight-bar introduction to the piece, which is the 'exordium' of the composition. The starting point for scientific interpretation is the initial motif of the composition, which the author regards as the musical-rhetorical figure 'imaginatio crucis',...
The purpose of the present study is to examine Fryderyk Chopin's oeuvre from the perspective of the principles of general artistic education relating both to the subject 'Music' in all stages of education and - in accordance with the trends in contemporary teaching - in the context of interdisciplinary approach to his works. / As the analysis of coursebooks approved for school use shows, the position...
When we take into consideration a plethora of various types of popular publications and mass events (concerts, festivals, recordings, performances) devoted to Fryderyk Chopin and organized in Poland for decades, we can come to the conclusion that this eminent composer is in a way overrepresented in Polish culture. Logic demands that Polish admiration for Chopin should be found in musical sensitivity...
The reception of Fryderyk Chopin's works, both in musical life and in literature, has changed during over 150 years since the composer's death. An example of this is the degree of popularity and the assessment of Chopin's two highly contrasting polonaises Op. 40. One, in 'A major', enjoyed immense popularity in the nineteenth century. It was often performed both at public concerts and at homes and...
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