Muzyka (Music)

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GDANSK CLAVICHORDS AND HARPSICHORDS IN THE 17TH AND 18TH CENTURIES

B. Vogel

Muzyka (Music) > 2004 > 49 > 1(192) > 79-101

Gdansk (Danzig) was famous as a centre of musical instrument manufacture during the 16th-18th centuries. Dozens of viol-makers and violin-makers, wind instrument makers, and finally keyboard instrument makers were recorded throughout that period. Viols, trumpets and harpsichords from Gdansk are listed in many court, church, convent and town inventories from Poland, Scandinavian and other countries...

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MUSICIANS FROM THE CAPPELLA GIULIA AND OTHER ROMAN MUSICAL ENSAMBLES WORKING IN THE COMMONWEALTH OF POLAND AND LITHUANIA DURING THE REIGN OF THE VASAS

B. Przybyszewska-Jarminska

Muzyka (Music) > 2004 > 49 > 1(192) > 33-52

This article is a commentary to the opinion of Pope Clement VIII, quoted in a letter by Cardinal Cinzio Aldobrandini dated 14th October 1595, when Luca Marenzio together with a group of other musicians was leaving Rome for the court of King Sigismund III Vasa in Poland. According to the Pope, the Eternal City was being stripped of musicians at that time. The authoress has attempted to identify other...

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WROCLAW PIANO MANUFACTURERS AT THE END OF THE 18TH AND DURING THE 19TH CENTURY - A FOOTNOTE TO THE HISTORY OF MUSICAL INSTRUMENTS MANUFACTURE IN SILESIA

K. Rottermund

Muzyka (Music) > 2004 > 49 > 1(192) > 103-113

Polish historiography of Silesia devotes relatively little space to the German contribution to the development of this region. This concerns also the manufacture of musical instruments, including pianofortes and pianos. The main centre of such manufacture was Wroclaw, although from mid-nineteenth century it was overtaken by Legnica. Polish musicians, as well as German ones, gave concerts using instruments...

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FERRUCCIO BUSON'S THEORETICAL APPROACH TO OPERA THEATRE

M. Gmys

Muzyka (Music) > 2004 > 49 > 1(192) > 53-77

At the beginning of this article the author draws attention to the fact that during recent years a sizeable body of so far totally unknown source material concerning Busoni has come to light, which makes it possible to carry out a much fuller reconstruction of his views on opera theatre than was possible only a few years earlier. Busoni was constructing his poetics of opera theatre above all in opposition...

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WIELAND'S CONCEPT OF 'GERMAN' SINGSPIEL: BETWEEN TRADITION AND MODERNITY (ILLUSTRATED BY THE EXAMPLE OF ANTON SCHWEITZER'S MUSICAL ADAPTATION OF 'ALCESTE')

H. Geyer

Muzyka (Music) > 2004 > 49 > 1(192) > 3-22

The experimental singspiel 'Alceste' by C.M. Wieland and A. Schweitzer, performed in 1773 at the theatre of Weimar, by the company of Seyler is one of the outstanding landmarks regarding the development of the German Singspiel during the second half of the 18th century. It is commented by Wieland himself in a series of articles and 'letters' and indeed, considering the inner dramatic structure of...

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Muzyka (Music)

GDANSK CLAVICHORDS AND HARPSICHORDS IN THE 17TH AND 18TH CENTURIES

MUSICIANS FROM THE CAPPELLA GIULIA AND OTHER ROMAN MUSICAL ENSAMBLES WORKING IN THE COMMONWEALTH OF POLAND AND LITHUANIA DURING THE REIGN OF THE VASAS

WROCLAW PIANO MANUFACTURERS AT THE END OF THE 18TH AND DURING THE 19TH CENTURY - A FOOTNOTE TO THE HISTORY OF MUSICAL INSTRUMENTS MANUFACTURE IN SILESIA

FERRUCCIO BUSON'S THEORETICAL APPROACH TO OPERA THEATRE

WIELAND'S CONCEPT OF 'GERMAN' SINGSPIEL: BETWEEN TRADITION AND MODERNITY (ILLUSTRATED BY THE EXAMPLE OF ANTON SCHWEITZER'S MUSICAL ADAPTATION OF 'ALCESTE')

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INFONA - science communication portal

Muzyka (Music)

GDANSK CLAVICHORDS AND HARPSICHORDS IN THE 17TH AND 18TH CENTURIES

MUSICIANS FROM THE CAPPELLA GIULIA AND OTHER ROMAN MUSICAL ENSAMBLES WORKING IN THE COMMONWEALTH OF POLAND AND LITHUANIA DURING THE REIGN OF THE VASAS

WROCLAW PIANO MANUFACTURERS AT THE END OF THE 18TH AND DURING THE 19TH CENTURY - A FOOTNOTE TO THE HISTORY OF MUSICAL INSTRUMENTS MANUFACTURE IN SILESIA

FERRUCCIO BUSON'S THEORETICAL APPROACH TO OPERA THEATRE

WIELAND'S CONCEPT OF 'GERMAN' SINGSPIEL: BETWEEN TRADITION AND MODERNITY (ILLUSTRATED BY THE EXAMPLE OF ANTON SCHWEITZER'S MUSICAL ADAPTATION OF 'ALCESTE')

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