BACEWICZ OBEREK PDF

Oberek. Transription for Three Accordions. Publisher: PWM Edition Wojciech Kilar, Grażyna Bacewicz and Witold Lutosławski, who performed these works in. After completing her studies in Warsaw (), Grażyna Bacewicz, the most outstanding 20th century Grażyna Bacewicz (Poland) – G. Bacewicz – Oberek no. Grażyna Bacewicz: Oberek No. 2, for violin and piano – Play streams in full or download MP3 from Classical Archives (), the largest and.

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Muzyka ludowa Kobiety w muzyce Muzyka polska. Her teacher, Nadia Boulanger, said with emotion:. When as a young girl she came to Paris, she showed great talent, which was to develop constantly for many years.

The first, adolescent, highly experimental, the second, mistakenly called neoclassical in our country and essentially tonal, and the third, to which I still stick. I have attained it in a way of development not revolution [2]. For ten years I have been watching a certain phenomenon in our musical environment that concerns me I apologize for writing about myself and I have to confess, that with every year that passes by, a bigger astonishment overwhelms me.

In ancient post-war times my output was labeled as neoclassical. In those times it was not baseless. But my work has undergone changes. This way the actual state of affairs is distorted. For nine years I have found this fact amusing. Now it has stopped amusing me [5].

The label was born early — after her first international success inwhen she won first prize for her Woodwind Quintet in a competition organized by an association supporting women working as freelancers [6].

In particular stylistic periods, Bacewicz adhered to her own techniques, which is why her pieces are quite uniform. But she was not content with what she had developed — she combined her favorite classical forms with sonoristic techniques, she made liberal use of dodecaphony, she used controlled aleatory and folk music, from whose rhythms and melodies she drew inspiration.

She created her own musical style. That composer, who avoided the most extreme means of the contemporary avant-garde, succeeded in creating a separate, autonomic artistic phenomenon, naturally combining certain contemporary achievements with the aforementioned aesthetic attitude.

We have to admire her enthusiasm, with which she absorbed new currents, and at the same time her instinct, which prompted her what to include in her arsenal of achievements, and what to refuse in order not to lose that which is the most important for every artist in the end: He concluded that she created the next great tradition of Polish music, the first one after Karol Szymanowski [9].

Polish composer, Tadeusz Baird, was impressed by the size and the affluence of her output too.

He emphasized her ability to express herself in almost every musical form from the symphonic cycle to the instrumental miniature, at the same time creating unique style which was impossible to falsify, just as the nacewicz versatile masters of the past [10].

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What was extremely important were the roots — the folk music. Folk intonations are a constant element of many of her works. The author of “Harnasie” in his deliberations on national art, raised the authority of Fryderyk Chopin and many other great composers. This thought was later used by social realism ideologists, who recommended using folk quotations in concert pieces.

Folk intonations sound as natural in her late “4 th String Quartet” as in her adolescent Woodwind Quintet [12]. Adrian Thomas wrote about that in a booklet:. This demanded an overt connection to the lives and experiences of “the masses”, which usually meant a simplified language and often the use of native folk tunes.

It also favoured monumentalism and an optimistic tone, especially at the end of works [13]. She wrote pedagogic pieces so terribly needed at that time. And she also wrote, but not because of an order, she wrote pieces based on folklore, such as obeerk “3 rd Concerto” and there were many pieces of this type.

The element common to the compositions, besides the folk inspiration, which I aim to prove, is the usage of violin as obwrek primary instrument. It is mainly because of the fact, that she was violin player, but maybe usage of fiddle is another proof of folk influence?

The title of the first composition itself suggests the influence of Polish musical tradition. Oberek is a national dance, whose name comes from the rotating dance movement. It is the fastest of Polish mazurka-rhythm-based dances.

Its another name is ober or obertas. Lightness and agility, repetitions of melodic and rhythmic figures, a majority of tiny rhythmic values and figurations are characteristic of it. Its simple and straightforward structure, exposing the violin part, is by no means equivalent with accessibility of this music to the player. Really fast tempo, frequent usage of double-stops stylized in a folk-like manner, varied articulation — all this is a virtuoso exam, that only a composer-virtuoso could make up for a performer [18].

References bacewwicz the Polish dance are seen mainly on the rhythmic side of the piece. This work is in 3 4 and tempo presto. It is based on movements of eighths. Oberekk are, like in the original folk dance, irregular accents on second and third beat in a bar. Not only does the accompaniment have to complete chords, but also underline these accents.

We can see it, e. Irregular accents in “1 st Oberek” — bars [19].

Repetitions of melodic and rhythmic schemes are characteristic of this composition — we can imagine dancers performing rotating figures. The composer uses parallel fifths bars 29, Melody is lead in double-stops where one of the sounds is constantly repeated and it sounds almost like a bourdon:.

Melody lead in double-stops — bars These are the methods to make the work folk-like. There are also elements of contemporary composition techniques. The composer juxtaposes keys without modulation — e.

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Grażyna Bacewicz: Chamber Music review – eloquent Polish composer finally gets her due

D-major, B-sharp minor and A-sharp minor. There are tritons in the accompaniment. Tritons in the accompaniment — bars The composer uses such articulation as spiccatopinch harmonics and chords played pizzicatoin which there are simultaneous sounds with and without alteration e. Bar 26 and It begins in slow tempo Andante in 3 4, though the melody seems to sound in 2 4. After that bacewiicz fragment, the tempo changes into Allegro bacewjcz troppo and 2 4. There are developments of the melody based on a rhythm:.

Rhythmic scheme used in “Polish Caprice”.

Bacewiccz of rhythmic scheme — bars The volume increases and in 65 th bar there is ff. The musical narrative is interrupted by oberek-like fragments.

They are in 3 4 and we can see them in bars: Double-stops consist of open strings sounds:. Bacdwicz that consist of open string sounds — bars As in the 1 st Oberekthere are folk influences, but contemporary ones too — changing registers, fast figurations, chords, and various articulations.

The 4 th Violin concerto is full of folk influences, however, they are not explicit. We can feel obrrek Polish climate. Polish folk material is used a few times in this dance-like “Vivace”. We can see inspiration in 2 nd theme of the 3 rd movement. It is called krakowiak. The characteristic feature of this impulsive dance is that the rhythm in 2 4 and there are lots ofwith syncopations which brings the accent in bars to the weaker part of it.

While the figure of female virtuoso was not something new in the 20 th century, the figure of a female composer was surprising. And she was indeed, because no female composers up until her times had been so outstanding, and in the romantic period they never left the living room [21].

She proved that composing is not only the domain of men! After all she proved inarguably that she can not only equal them, but stand in the very first row of the world’s most prominent composers [22]. This is not a material that leads, as the composers of Young Poland were afraid of, to backwardness of the music and to its stagnation.

Bacewicz: Oberek No. 1 (page 1 of 1) | Presto Classical

It can be quoted or stylized. Her works prove that basing on a material that is characteristic of one’s own country we bcaewicz not have to give up contemporary techniques or our own musical language.

Pawelec, screenplay by M. Macmillan Publishers Limited,v. Chodkowski, 2nd edition Warszawa: PWM, Zobacz nasz spot reklamowy. Melodie regionalne ziem polskich w opracowaniu Festiwal Nostalgia.

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