<abstract xmlns="http://www.w3.org/1999/xhtml">

<p>Despite the many research perspectives from which Andrzej Krzanowski’s music has been analyzed, so far there is no study that would attempt to interpret this work from the point of view of expression. The aim of the text is to answer the question about expression in Krzanowski’s music and his original compositional style. In the article, I refer primarily to the score (in Mieczysław Tomaszewski’s terms – the phase of musical conception). The starting point is the performing cast, with very often goes beyond the traditionally understood instruments (whistles, sirens). I am trying to find out what are the roots of using such an unusual cast and what significance it has for issue at hand. A separate place in the text is devoted to the expression of the voice as well as the influence of vocal genres (song, aria, chorale) on the instrumental music of this composer. The last issue related to the expression of the piece is the layer of verbal instructions. The number and repetition of many of them indicate how important for Krzanowski was not the recording itself, but its interpretation in performance. The analysis of Krzanowski’s scores in terms of the above-mentioned aspects ultimately leads to the conclusion that the musical choices he made resulted from the author’s autobiographical experiences, which shaped the original language of the author’s musical expression and, consequently, its type of expression.</p>
</abstract>

Despite the many research perspectives from which Andrzej Krzanowski’s music has been analyzed, so far there is no study that would attempt to interpret this work from the point of view of expression. The aim of the text is to answer the question about expression in Krzanowski’s music and his original compositional style. In the article, I refer primarily to the score (in Mieczysław Tomaszewski’s terms – the phase of musical conception). The starting point is the performing cast, with very often goes beyond the traditionally understood instruments (whistles, sirens). I am trying to find out what are the roots of using such an unusual cast and what significance it has for issue at hand. A separate place in the text is devoted to the expression of the voice as well as the influence of vocal genres (song, aria, chorale) on the instrumental music of this composer. The last issue related to the expression of the piece is the layer of verbal instructions. The number and repetition of many of them indicate how important for Krzanowski was not the recording itself, but its interpretation in performance. The analysis of Krzanowski’s scores in terms of the above-mentioned aspects ultimately leads to the conclusion that the musical choices he made resulted from the author’s autobiographical experiences, which shaped the original language of the author’s musical expression and, consequently, its type of expression.

Expression in the music of Andrzej Krzanowski

Polski Rocznik Muzykologiczny

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

{"article-title":"Expression in the music of Andrzej Krzanowski"}

Despite the many research perspectives from which Andrzej Krzanowski’s music has been analyzed, so far there is no study that would attempt to interpret this...

Expression in the music of Andrzej Krzanowski

Publié en ligne: 15 févr. 2024

Pages: -

DOI: https://doi.org/10.2478/prm-2023-0008

Mots clés
Andrzej Krzanowski, autobiographism, expression

© 2023 Magdalena Stochniol, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Expression in the music of Andrzej Krzanowski

Publié en ligne: 15 févr. 2024

Pages: -

DOI: https://doi.org/10.2478/prm-2023-0008

Mots clésAndrzej Krzanowski, autobiographism, expression

© 2023 Magdalena Stochniol, published by Sciendo

This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 International License.

Mots clés
Andrzej Krzanowski, autobiographism, expression