Anna Rusin
Kwartalnik Młodych Muzykologów UJ, Numer 55 (4/2022), 2022, s. 39 - 64
https://doi.org/10.4467/23537094KMMUJ.22.016.18105Erik Satie’s Parade in the Perspective of Intermediality as per Werner Wolf’s Theory
Parade by Erik Satie, Jean Cocteau, and Pablo Picasso created in 1917 was pro- claimed the first surrealistic ballet, the cubist manifesto and succès de scandale. The article aims to examine the intermedial relations between the media that constitute the oeuvre regarding Werner Wolf’s typology of intermediality. The context of the analysis is provided by avant-garde movements that emerged in arts at the turn of the 20th century and determined the phenomena occurring within particular media. As a result, in the transmedial dimension, the impact of metalepsis can be observed. It leads to the disturbance in the narrative structure arising from the assumptions in a ballet scenario.
* Niniejszy artykuł powstał w oparciu o pracę licencjacką autorki zatytułowaną Parada Erika Satie – dzieło intermedialne w kontekście nowych kierunków sztuki la belle époque napisaną pod kierunkiem dr Małgorzaty Pawłowskiej i obronioną w Akademii Muzycznej w Krakowie w 2016 roku.
Anna Rusin
Kwartalnik Młodych Muzykologów UJ, Numer 53 (2/2022), 2022, s. 5 - 31
https://doi.org/10.4467/23537094KMMUJ.22.007.16244Sounds of Carnival: The Musical Language of Le Carnaval d’Aix op. 83b by Darius Milhaud
Darius Milhaud (1892–1974) is one of the leading composers of the French avantgarde in the 20th century. His stylistic idiom was formed under the influence of the folklore of various cultures from around the world, which he encountered during his numerous travels. One of the compositions inspired by foreign elements, both musical and cultural, is the fantasia Le Carnaval d'Aix op. 83b (1926) for piano and orchestra. The analysis from the genre perspective aims to examine the musical poetics of the composition (including Milhaud’s specific neoclassical strategies) and its links with Carnival. As a result, a dualistic perspective towards the musical language of the composer is proposed as exemplified by the work in question.
Anna Rusin
Kwartalnik Młodych Muzykologów UJ, Numer 54 (3/2022), 2022, s. 43 - 70
https://doi.org/10.4467/23537094KMMUJ.22.013.16813The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos
In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and seeks to deeply comprehend the phenomenon’s resonance in the composers’ music.
Anna Rusin
Kwartalnik Młodych Muzykologów UJ, Numer 48 (1/2021), 2021, s. 5 - 30
https://doi.org/10.4467/23537094KMMUJ.21.001.13638Heitor Villa-Lobos and Darius Milhaud: towards fascinations, musical approaches and personalities
The article aims to examine the circumstances of Milhaud and Villa-Lobos’s encounter, who are the significant figures of 20th century French and Brazilian avant-garde. The analysis of the principle aspects of youthful inspirations, musical approaches and personalities as per Mieczysław Tomaszewski’s concept of the integral interpretation, presents the impact of cultural milieux on artists’ aesthetics, together with their apparent fascination with Carnival. Additionally, the study highlights a connection between the composers’ natures and the fantasy implied either as a category or a genre fantasia. As a result, various analogies are identified linking the composers’ life and musical language.