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Antoni Szałowski

Person and Work

Series:

Elzbieta Szczurko

«(This book) is the first extensive study of the works of Antoni Szałowski, which provide a clear example of the adaptation of the principles of Neoclassicism and the norms of Nadia Boulanger. The heritage of the émigré composers – generally speaking not well known, scattered, or absent from national musical life for many years – requires a comprehensive research approach in order to restore it to its rightful place within Polish music. This is the direction taken in this work, where the monographic form is a fitting framework for the presentation of the characteristics, the context and the significance of Szałowski’s achievement – a subject never undertaken before.» (Prof. Dr. D. Jasińska, Adam Mickiewicz University of Poznań, Poland)
«The structure of the book as a whole is logical and cohesive. The uniform approach to constructing chapters and subchapters is undoubtedly of great value. Each new section begins with a theoretical or historical introduction, depending on the topic discussed, and is then followed by the discussion of the issues raised. The reader gains the impression that the author is firmly grounded in the literature of the subject in its widest sense.» (Prof. Dr. T. Malecka, Academy of Music in Kraków, Poland)

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Contents

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1. Introduction .................................................................................................... 19 1.1. Defining the subject............................................................................................ 19 1.2. Objectives, premises and methods ................................................................. 21 1.3. The sources and current state of research..................................................... 26 1.3.1. The manuscripts....................................................................................... 26 1.3.2. Publishers of Szalowski’s music and his phonography................. 27 1.3.3. Correspondence and other documents............................................... 29 1.3.4. Synthetic-analytic studies and m em oirs............................................. 30 2. The anthropological dimension of artistic development.................... 39 2.1. The socio-cultural context................................................................................. 40 2.2. Features of the artist’s personal subjectivity................................................. 68 2.2.1. Creative development............................................................................. 70 2.2.2. Keeping faith with ideals......................................................................... 72 2.2.3. The impractical artist .............................................................................. 76 2.3. Help from others and Szalowski’s formation as a composer.................. 81 2.3.1. Nadia Boulanger....................................................................................... 81 2.3.2. The publishers ........................................................................................... 88 2.3.3. The critics ................................................................................................... 91 2.3.4. Conductors, composers, soloists and friends ................................... 96 2.3.5. Teresa Szałow ska...................................................................................... 101 3. The essence of creativity .............................................................................. 103 3.1. Towards Neoclassicism ...................................................................................... 103 3.1.1. Compositions from the period of studies in Warsaw (1919-1930) 103 3.1.2. Compositions from the period of studies in Paris (1931-1936) .. 121 3.1.3. Overture as the crowning achievement of the early creative period 129 7 Contents 3.2. Mature Neoclassicism......................................................................................... 138 3.2.1. Technical issues......................................................................................... 138 3.2.1.1. Tonal-harmonic properties.................................................... 139 3.2.1.1.1. Scalar material............................................................... 141 3.2.1.1.2. Intervalics in the linear process................................... 152 3.2.1.1.3. Consonances and chords............................................. 159 3.2.1.1.4. Types of chordal combinations .................................. 166 3.2.1.1.5. Centralisation............................................................... 173 3.2.1.2. Orchestral technique................................................................ 181 3.2.1.2.1. Instrumentation........................................................... 185 3.2.1.2.2. Disposition of the orchestral ensemble...................... 187 3.2.1.2.3. Solo instruments.......................................................... 191 3.2.1.2.4. Positioning ofperformance groups in relation to tutti 195 3.2.1.2.5. Types of sound structures ........................................... 198 3.2.1.2.6. Types of registers ......................................................... 200 3.2.1.2.7. Articulation................................................................... 203 3.2.1.2.8. Dynamics ...................................................................... 206 3.2.1.3....

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