http://hdl.handle.net/11089/2207 MUZYKA I MUZYCZNOŚĆ W LITERATURZE OD MŁODEJ POLSKI DO CZASÓW NAJNOWSZYCH (II) Sun, 26 Apr 2026 04:31:57 GMT 2026-04-26T04:31:57Z https://dspace.uni.lodz.pl:443/xmlui/bitstream/id/92b7a67e-1fbc-4d20-a4ac-c1e19f09e630/ http://hdl.handle.net/11089/2207 http://hdl.handle.net/11089/2378 Piosenka o piosence według Jerzego Wasowskiego i Jeremiego Przybory Wiśniewski, Jerzy Among numerous songs written by Wasowski and Przybora for the tv and radio show Old Gentlemen’s Cabaret two: Piosenka jest dobra na wszystko (A Song is a Universal Remedy) from the Fifth Evening of the Cabaret (14 May 1960) and Mambo Spinoza from the Eighth Evening (4 November 1961) might be considered autothematic. They represent an idea of ‘a song about a song’ — a common theme or motif in Polish popular music. In reaction to ideological degeneration of different forms of mass entertainment between 1949 and 1955 (the period known as Stalinism), Wasowski and Przybora decided to ‘redefine’ a song, writing these two pieces full of humour and allusions. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2378 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2377 Muzyka w Dziennikach Stefana Kisielewskiego Ciołkiewicz-Latek, Urszula The article points out the strands connected with music and the musical life in Poland in Dzienniki by Stefan Kisielewski. Kisielewski has been writing his Dzienniki between 1968 and 1980. There are numerous references to the composers, musicians and musicologists contemporary to Stefan Kisielewski with the author’s opinions on them and their works. Kisielewski presents often very sharp, uncompromising and scathing views about the people mentioned in his diary. The literary genre of diary is personal and not destined to be published though not devoid of the elements of the literary creation. This is why Kisielewski could express here his opinions freely, without the fear of a censorship. The pages of Stefan Kisielewski’s diary testified also to his anxiety about his own compositions’ artistic value. This is a fascinating evidence of his artistic process of composing and writing. The text underlines the fact that Dzienniki is a very illuminating book, with a great documentary and factual value. It gives a true picture of the difficult artistic life in PRL in the 60s and 70s, under the domination of the communist ideology. Simultaneously this is an invaluable record of Stefan Kisielewski’s complex and colourful personality. The article depicts also the changes in Kisielewski’s views on music and his own artistic activity as time goes by. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2377 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2376 „Kocham cię, życie”. O darze łgania i opowiadania oraz o budowaniu własnego wizerunku w pamiętnikach Artura Rubinsteina Cuber, Marta In comparison to other classical music players (such as Fiodor Szalapin’s Memories from my life), Arthur Rubinstein’s My early years seem to be a work of a thriller-like fabular layer and an elementary non-fiction value. In my sketch, instead of evaluating this proportion, I suggest making a more useful move — a rhetorical analysis of the autocreatrional pose which is adopted by the memoir’s subject. By means of this I present the memoir I (which easily embodies roles such as a liar, joker, raconteur and sage), as well as point and decipher the mechanisms of popular prose, which the author activates. Thanks to this approach Rubinstein uncovers his unknown face — a conscious writer and amusement culture hothead. Uncovering its codes in My early years with the evolutionary biography construction of the main character basically means retelling the musician’s diary — this time as well composed, popular literature. By means of this procedure the author’s mistakes and slips of memory become softened, for playing with the reader to persuade him to believe in the maker’s unfailing memory seems to be more important. A separate matter in this sketch is the reflection on the anecdotal-narcisistic layer of the memoir. To open it I use not the rhetorical key, but psychotherapeutic tools, revealing a considerable amount of autotherapy potential in Rubinstein’s memories. Thus, this sketch discloses and exposes the mystifying mechanisms in the work of the great pianist, leveling them with the consoling inclinations of popular biographies. Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2376 2012-01-01T00:00:00Z http://hdl.handle.net/11089/2375 Wspomnienia głosem pisane. O autobiografiach śpiewaków Kornatowska, Beata The article Memories sung in words – singers’ autobiographies aims at identifying main topics and patterns present in autobiographical writings of classical singers. Discovering of vocal talent and musicality, desire to become a singer, role of voice teachers and mentors (conductors, stage directors etc.), highlights of the career, fears and failures, vocal crises, dealing with criticism and negative judgements, daily routines aimed on vocal fitness, balancing private and professional life, cultural and historical background — all these aspects are discussed here on two remarkable examples: ... und ich wäre so gern Primadonna gewesen. Erinnerungen (Berlin 1994, English: In My Own Voice. Memoirs. New York 2009) by Christa Ludwig, one of the greatest mezzo-sopranos of postwar opera, and Zeit eines Lebens. Auf Fährtensuclie (Stuttgart 2000) by Dietrich Fischer-Dieskau, one of the most famous Lieder performers, often called in Germany ‘the voice of the 20th century’. Verbalizing the universe of their artistic and life experience they both express the essence of being a classical singer: ‘The singing profession is slavery! It only looks easy and enviable from the outside. You are showered with bravas and blossoms [...], but from the beginning the sword of Damocles always hangs over your head. After a certain age you no longer have the ease, and your voice is no longer as radiant. Indeed, you must stop singing just at the time when you finally know what singing is all about’ (Christa Ludwig, In My Own Voice. Memoirs). Sun, 01 Jan 2012 00:00:00 GMT http://hdl.handle.net/11089/2375 2012-01-01T00:00:00Z