The life and works of Sergei Bortkievich (1877-1952), part 4 – The influence of dance-like qualities on the expression of Bortkievich’s works
Journal Title: Notes Muzyczny - Year 2017, Vol 2, Issue 8
Abstract
Previous articles touching on Sergei Bortkievich’s creative output present the great deal of influence of dance inspiration on his oeuvre. Its demonstrations can be noticed in the majority of his compositions. Numerous different stylisations of folk, ballroom, Oriental and old dances can be found in his works and there are also examples where dance elements characterised by a short reference to a certain dance were used. This reference was usually displayed in one selected element of a music piece. Another topic worth discussing and analysing is the influence of dance elements on the expression in a piece. The problems of the influence of dance on the emotional expression of a composition could be described based on practically any piece which more or less refers to dance tradition. Nevertheless, the author decided that the material analysed herein would be compositions in which the shown dance elements did not dominate the whole composition, appearing only for a short period or sporadically. They serve as examples for answering the question in what way dance elements could influence the emotional overtone of a piece. The starting point for the present discussion shall be indicating the fragments in which dance elements were noticed and deciding whether they appear in crucial and meaningful moments of the emotional scheme of a given piece. The analyses conducted by the author have revealed that in each composition by Sergei Bortkievich where any dance references were observed – either in a form of stylisation or certain dance elements used – a connection with a laid out emotional sphere of a piece and an influence on its expression can be seen. To illustrate this problem, the publication includes a chart with examples of the substantial influence of dance elements on the emotional overtone of a piece. The richness and variety of these references to the widely understood dance-like qualities should in turn encourage each researcher, and especially a performer, to conduct thorough analyses of his pieces, which will make uncovering the essence of the composer’s musical idea possible.<br/><br/>
Authors and Affiliations
Agnieszka Kościelak-Nadolska
Keywords
Related Articles
- EP ID EP516948
- DOI -
- Views 34
- Downloads 0
Wiolonczela w epoce baroku, cz. I
Niniejszy artykuł powstał na podstawie fragmentu rozprawy doktorskiej autora Narodziny wiolonczeli jako instrumentu solowego – instrumenty, praktyka i wybrane przykłady z literatury (AM w Łodzi, 2017, rozdział pt. Ewoluc...
Zabytkowy fortepian Pleyela. Studium egzemplarza nr 32 490 z 1862 roku na przykładzie „Preludiów” op. 28 Fryderyka Chopina
Fortepian firmy Pleyel nr 32 490, będący eksponatem Muzeum Podkarpackiego w Krośnie, jest jednym z najcenniejszych tego typu zabytków w Polsce. Wyprodukowany w 1862 roku instrument stanowi wartościowy przykład konstrukcj...
Laboratorium I
Laboratorium I<br/><br/>
Elementy jazzowe i brazylijskie w suicie „Scaramouche” op. 165b Dariusa Milhauda
Artykuł składa się z kilku sekcji. We wstępie autor przedstawia życiorys Dariusza Mihauda ze szczególnym uwzględnieniem afiliacji jazzowych. W dalszej części autor prezentuje stylistykę kompozytora oraz wymienia kompozyc...
Baroque suite as a construction scheme in Jonathan Littell’s novel "The Kindly Ones"
Jonathan Littell’s Les Bienveillantes (The Kindly Ones), a novel honoured with prestigious prizes, is an interesting attempt to tell a story of World War II and the Extermination from the standpoint of a former SS office...