https://repozytorium.ukw.edu.pl///handle/item/1386 2026-04-05T19:10:07Z 2026-04-05T19:10:07Z Bednarek, Stefan https://repozytorium.ukw.edu.pl///handle/item/1443 2015-01-29T01:02:40Z 2014-01-01T00:00:00Z

Lutosławscy w Drozdowie. Kulturotwórcza funkcja dworu ziemiańskiego pod zaborami Bednarek, Stefan In the recent times we can see quite considerable interest in the culture of a manor house. This is the result of the longing for the past world. this world was presented idealistically in Polish literature, which is proved by the following sites of the past: Soplicowo, Korczyn, Zasławek or Serbinowo. The manor house was a stronghold, pillar of tradition and national identity. The manor house in Drozdowo where the Lutosławscy family has lived since the 18th century also played such a function. The author focused to show in the article the daily life of inhabitants of Drozdowo since 1855, when the host of the house after the death of Wincenty Lutosławski was his son Franciszek Dionizy. The author describes the photos of the inhabitants, the way of life and customs prevailing in this place at the turn of 19th and 20th century. The author also concentrates on describing the conditions in which Witold Lutosławski grew and the manner of shaping the personality of this future brilliant composer.

2014-01-01T00:00:00Z Frołowicz, Elżbieta https://repozytorium.ukw.edu.pl///handle/item/1442 2015-01-30T01:02:35Z 2014-01-01T00:00:00Z

Piosenki dla dzieci Witolda Lutosławskiego - marginalizowany obszar twórczości Frołowicz, Elżbieta Major works with the participation of the symphonic orchestra especially from the last period of the creative activity becomes the subject of different analyzes of artistic output of Witold Lutosławski. However, the talent of the most celebrated Polish composer - besides Chopin and Szymanowski - became visible also in the incomparably minor works created in circumstances of difficult times for living and creating. The author reminding of these conditions, presents the songs for the children by Witold Lutosławski (over 40) which are currently somewhat forgotten, emphasizes their universal artistic and educational value. The author also quotes the words of the composer himself who was deeply convinced of the meaning and need of this type of creativity.

2014-01-01T00:00:00Z Wilburg-Marzec, Ewelina https://repozytorium.ukw.edu.pl///handle/item/1441 2015-01-28T01:02:45Z 2014-01-01T00:00:00Z

Spojrzenie klasyka XX wieku na barokową formę koncertu na podstawie „Koncertu na obój i harfę” Witolda Lutosławskiego Wilburg-Marzec, Ewelina The object of research paper is an attempt to read the Classic looks of the 20th century - Witold Lutosławski on the Baroque form. The author indicates the characteristics of the term classicism in art, which becomes the basis for finding them in Concert for oboe and harp. Shows the elements of the composition, which interacted with the classic trend is characterized by moderation, balancing, peace and respect for tradition. Considering the extent to which the personality of the creator of new standards and standards-setting moves to creative materials. Shows how the Baroque form of the concert could inspire the composer of the 20th century. Genesis and circumstances of the concert is the starting point for the analysis of the work, which is looking for an answer to the question what makes a Concert represents a synthesis of modern musical language, style and compositional techniques with the traditional form of the concerto grosso of the independence of the material between the parties in the concertino and concerto. Characterized by a musical language indicating elements anchored in the past in relation to the characteristics of the thoroughly modern. Responding to the question of whether to base work on the series always assigns a category theme of modernity. Describes the role of the departing design layer architectural form works shape designating the mitral cell by the composer earned and wonders what purpose has back to the classic three-pieces schema. Correlation characteristics of the late composer, among others: back to the melody and structure of motive-themed shows at the same time its belonging to music second mid-20th century. Looking for an answer to the question what a load of expression carry with themselves and why rhythm and quality-metric. Another step is recognizing the direction of narrative story and the elements of music works which have an impact on the formation way. At the end of the reflection appears what is the ability to call their own, modern musical language with the traditional form of the concerto grosso, and also how does the Baroque master in the context of a formal expression of the contemporary far from lavish, moving into the realm of intellectual experience rather than a sensual experience. the author he argues with thesis, that concert is saddled with “lesser species weight”.

2014-01-01T00:00:00Z Winnicka, Marlena https://repozytorium.ukw.edu.pl///handle/item/1440 2015-02-04T01:02:21Z 2014-01-01T00:00:00Z

Forma dwuczęściowa w twórczości Witolda Lutosławskiego Winnicka, Marlena In the String quartet created in 1969, Lutosławski applied for the first time a form model which was new in his creativity. the novelty was to create a composition from two parts. The problem of the form was equally important for Lutosławski as the sound system of melics structure. He believed that “the forces exist in each strictly composed music form which could be called counter forces. Each form is the result of forces neutralizing each other or counter forces”. Lutosławski understands the form as playing out and filling out, as a composition of music action, accompaniment of sound events. A composer is a director and playwright of sound events. the author carried out the studies on the structure of the music works by analyzing the cameral and orchestra works. She selected the following works for her studies: String Quartet, 2nd Symphony, Livre pour orchestre, Cello concert, Preludes and Fuge. The analysis of the aforementioned works showed which means were applied to shape the formal structure of the compositions. Lutosławski rejected modern ideas of a music form. He rejected the functional tonality, but in exchange for that he developed a kind of functional subject focused concept. He adopted for his needs some solutions in terms of using an episode, keeping it, however, under control.

2014-01-01T00:00:00Z