{"id":22805,"date":"2022-03-04T10:30:05","date_gmt":"2022-03-04T09:30:05","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=22805"},"modified":"2022-04-08T12:59:17","modified_gmt":"2022-04-08T10:59:17","slug":"polish-and-ukrainian-songs","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/polish-and-ukrainian-songs\/","title":{"rendered":"POLISH AND UKRAINIAN SONGS"},"content":{"rendered":"

The song is one of the most representative genres of the Romantic era. Composers of this period eagerly used the opportunity to deliver individualized expression and poetic depth in a condensed form. Interestingly, in Polish works of this type, love themes often carried content related to serving the homeland. Even in the idyllic narratives, there is an image of a free Poland, and in the romantic sighs – allusions to independence. The native musical traditions also played a particularly important role in the creation of Polish songs – they often echo the dance rhythms of the kujawiak, mazurka, oberek, krakowiak or polonaise. Similarly, Ukrainian songs – both from the 19th and 20th century, those written to texts by great poets as well as those of folk provenance – carry a wealth of strong emotions. The evocative images of nature reflect love for the motherland and the intricacies of human fate.<\/p>\n

The first part of the program will be filled with works by Polish composers. The idea of \u200b\u200bcreating a Polish repertoire suitable for home music-making had already accompanied J\u00f3zef Elsner, who in 1803 established the first serial score publication (\u201eWyb\u00f3r pi\u0119knych dzie\u0142 muzycznych i pie\u015bni polskich\u201d – “A Selection of Beautiful Musical Works and Polish Songs<\/em>“) of vocal pieces to perform at home. Unlike Elsner, Fryderyk Chopin used the song genre as a space for personal, even intimate confessions. In turn, Stanis\u0142aw Moniuszko made it his mission to create a song repertoire for an oppressed nation and, with this in mind, he wrote pieces for the consecutive volumes of the “Home Songbook”. Others soon followed in his footsteps – including Ignacy Komorowski, Ignacy Krzy\u017canowski or Jan Kleczy\u0144ski.<\/p>\n

The second part of the concert will feature compositions by outstanding Ukrainian composers. One of the most notable is Mykola \u0141ysenko, who conducted ethnographic research on native folklore and, contrary to the cultural policy of tsarist Russia in the 19th century, fought to give the Ukrainian language a high status in musical creation. We will also hear compositions by other artists who made considerable contributions to Ukrainian culture, including Denys Siczy\u0144ski, whose publishing house Muzyczna Biblioteka (“Musical Library”) disseminated works by many Ukrainian composers, Stanis\u0142aw Ludkiewicz, who promoted the development of higher musical education, and Jakiw Stepowyj, who is considered to be one of the leading representatives of the Ukrainian national school.<\/p>\n

 <\/p>\n

PROGRAM<\/strong><\/p>\n

J\u00f3zef Elsner (1769\u20131854) \u2013\u00a0Pasterka<\/em>, text Kazimierz Brodzi\u0144ski
\nJan Kleczy\u0144ski (1837\u20131895) \u2013\u00a0M<\/em>\u0142oda<\/em>\u00a0dziewczyna<\/em>, text Gabryelli
\nIgnacy Krzy\u017canowski (1826\u20131905) \u2013\u00a0Szumi w\u00a0gaju brzezina<\/em>, text Adam Asnyk
\nIgnacy Marceli Komorowski (1824\u20131857) \u2013\u00a0Kalina<\/em>, text Teofil Lenartowicz
\nFryderyk Chopin (1810\u20131849) \u2013\u00a0Piosnka litewska<\/em>, text Ludwik Osi\u0144ski, after the text of a Lithuanian folk song
\nFryderyk Chopin (1810\u20131849) \u2013\u00a0Gdzie lubi\u2026<\/em>, text Stefan Witwicki
\nStanis\u0142aw Moniuszko (1819\u20131872) \u2013\u00a0Nawr\u00f3cona<\/em>, text Johann W. Goethe
\nStanis\u0142aw Moniuszko (1819\u20131872) \u2013\u00a0Dalib\u00f3g\u017ce<\/em>, text\u00a0Ignacy Massalski
\nStanis\u0142aw Moniuszko (1819\u20131872) \u2013\u00a0Dumka<\/em>, text\u00a0Jan Czeczot<\/p>\n

Wasyl Barwi\u0144ski \u2013 Prelude in F-sharp major op.1 No 2
\nLew Rewucki \u2013 Prelude in E-flat major op.7 No 1<\/p>\n

Myko\u0142a \u0141ysenko (1842\u20131912) \u2013 Sadok wysznewyj ko\u0142o chaty<\/em>, text Taras Szewczenko<\/p>\n

Jakiw Stepowyj (1883\u20131921) \u2013\u00a0Ne hraj,<\/em>\u00a0ne hraj<\/em>, text Maksym Rylski
\nJakiw Stepowyj (1883\u20131921)\u00a0\u2013 Ne berit` iz ze\u0142enoho \u0142uhu werby<\/em>, text O\u0142eksandr O\u0142e\u015b
\nDenys Siczy\u0144ski (1865\u20131909) \u2013\u00a0Babyne lito<\/em>, text Marian Gawalewicz, Ukrainian transl. Stepan Czarnecki
\nStanis\u0142aw Ludkewycz (1879\u20131979) \u2013\u00a0Tajna<\/em>, text O\u0142eksandr O\u0142e\u015b
\n\u0141esia Dyczko (1939) \u2013\u00a0Ja \u2013 choczesz -zaczaruju lis<\/em>, text Myko\u0142a Rudenko
\nTycho Dunaj wodu nese<\/em> \u2013 folk song, arr. Myko\u0142a \u0141ysenko (1842\u20131912)
\nJakby meni czerewyky<\/em> \u2013 folk song, arr. Myko\u0142a Ko\u0142essa (1903\u20132003)
\n<\/em>Hadanoczka<\/em> \u2013 folk song, arr. Dezyderij Zador (1912 \u2013 1985)
\nOj ne swity misiacze\u0144ku<\/em> \u2013 folk song, arr. Myko\u0142a \u0141ysenko (1842\u20131912)
\nDoszczyk\u00a0<\/em>\u2013 folk song, arr. Myko\u0142a \u0141ysenko (1842\u20131912)<\/p>\n

PERFORMERS<\/strong><\/h4>\n

MARTA BOBERSKA<\/strong><\/a> SOPRANO<\/p>\n

NATALIA REWAKOWICZ<\/strong> GRAND PIANO<\/p>\n

 <\/p>\n

\n
The seats in the auditorium are not numbered.<\/h5>\n","protected":false},"excerpt":{"rendered":"

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