Maja Trochimczyk - Academia.edu (original) (raw)
Papers by Maja Trochimczyk
Polish American Studies
Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Asso... more Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Association The Impact o? Mazowsze and ?l$sk on Polish Folk Dancing in California by Maja Trochimczyk The Soviet Model After ...
Studia Chopinowskie
Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół... more Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół rodziny Marii Szymanowskiej, u pianistki w Petersburgu (1828–1831) oraz w domu jej córki, Heleny Malewskiej (ca 1832–1838). Pracę zainspirowały dokumentyze zbiorów Biblioteki Polskiej w Paryżu, kolekcji Muzeum Adama Mickiewicza, nr. sygn. 956, 957, 958. Są to rękopiśmienne zeszyty z tekstami pieśni i wierszy patriotycznych, krakowiaków i mazurów, zebranych i spisanych przez Helenę Szymanowską-Malewską oraz jej brata bliźniaka Romualda Szymanowskiego. Modelem dla domowego wykonywania patriotycznych piosenek były niewątpliwie Śpiewy historyczne Juliana Ursyna Niemcewicza, do których Szymanowska skomponowała pięć pieśni, z nich zaś trzy wydano drukiem w 1816 r. Wiedzy o okolicznościach praktykowania tej tradycji w jej salonie dostarcza natomiast Dziennik jej córki, Heleny Szymanowskiej-Malewskiej, powstały w latach 1827–1857 – przed i po ślubie z Franciszkiem Malewskim (1800–1870), przyjac...
Polish American studies, Apr 1, 2010
... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... more ... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... Times, March 11, 1917), is illustrated with portraits of Paderewski, Eugen d'Albert, Vladimir de ... Literary Critics and Scholars, 1850-1880, John W. Rathburn, Monica M. Grecu, eds., (The ...
The Polish Review, Jul 1, 2012
Polish American studies, Oct 1, 2010
... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish... more ... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish English), Elisabeth Murawski, Lusia Slomkowska, Margaret C ... to the Chopin-Sand liaison occur in poems by: Austin Alexis, Sheila Black, Sharon Chmielarz, Jessica Day, Lori ...
Polin: Studies in Polish Jewry Volume 19
Tempo, 1994
On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind ... more On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind of ‘kutyafa’ (dogwood) is in bloom, like acacias flowering at home. The birds have become completely drunk with the spring and are putting on concerts the like of which I've never heard. They start with puty-puty-puty ./../../. and end up with various new bird sounds (clearly from later arrivals). The keeps on creating more and more variants.
Organised Sound, 1998
Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trum... more Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is already quite dense, even though we have only considered its aspects relating to pitch, pitch class and pitch notation (representation by letters). What if the performer's gestures, the facial expressions, the direction of the bell of the instrument became important? Might one say, then, that the music has become theatre?
Sarmatian Review, 2013
This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milos... more This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milosz, entailed an investigation of three other modernist poets—Hector de Saint-Denys Garneau, Jan Zahradnicek, and Elisabeth Langgasser. The study owes its present shape to the method chosen by its author who subjects his expertise in "close reading" and "in-depth explications de texte" (1) to the rigors of the chronology of Milosz's life. Hence, the reader obtains a solid monograph on the celebrated Polish Nobel Prize laureate that follows the movement of the poet's Weltanschauung, trying to perceptively identify its most significant moments and swerves. Thus, of Milosz's prewar poetry narrators Kraszewski says that, although facing suffering and despair, "their response to the troubles of life is: pity, mercy, and, in the end, faith, trust" adding quickly in a gesture that suggests the course of his future analysis that "it will not always be thus" (50). In conjunction with the biographical ramifications of the monograph, we move to the immediate postwar verse dominated by the conviction that, independent of political expediencies, "the imperative of moral choice is never suspended" (66), and after that to the stubborn dedication to the topographical and cultural realities of the lost homeland invigorated by his California exile, which ultimately became less a threat and more "a redemption from the jaws of annihilation, a rescue" (96). In the 1970s and 1980s the sense of the crisis of civilization bereft of moral sense intensifies but is countered by the fact that "Milosz cannot (fortunately) get away from the Thomism of his early education, his logical certainty of the existence of an Absolute" (158), which nevertheless does not save the poet from entering, in the final years of his life, areas "he was not intended, or perhaps qualified, to visit" (240), that is, theology, which risky stride results in a highly unorthodox vision of "the poverty of God, his impuissance" and colors Milosz's thought with dualism and "uncomfortable obsession with the 'presence' of evil in the world" (212).
This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in P... more This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.
Polish American Studies
Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Asso... more Page 1. Polish American Studies Vol. LXIII, No. 1 (Spring 2006) ? Polish American Historical Association The Impact o? Mazowsze and ?l$sk on Polish Folk Dancing in California by Maja Trochimczyk The Soviet Model After ...
Studia Chopinowskie
Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół... more Tematem niniejszego artykułu jest muzykowanie domowe podczas spotkań w gronie bliskich przyjaciół rodziny Marii Szymanowskiej, u pianistki w Petersburgu (1828–1831) oraz w domu jej córki, Heleny Malewskiej (ca 1832–1838). Pracę zainspirowały dokumentyze zbiorów Biblioteki Polskiej w Paryżu, kolekcji Muzeum Adama Mickiewicza, nr. sygn. 956, 957, 958. Są to rękopiśmienne zeszyty z tekstami pieśni i wierszy patriotycznych, krakowiaków i mazurów, zebranych i spisanych przez Helenę Szymanowską-Malewską oraz jej brata bliźniaka Romualda Szymanowskiego. Modelem dla domowego wykonywania patriotycznych piosenek były niewątpliwie Śpiewy historyczne Juliana Ursyna Niemcewicza, do których Szymanowska skomponowała pięć pieśni, z nich zaś trzy wydano drukiem w 1816 r. Wiedzy o okolicznościach praktykowania tej tradycji w jej salonie dostarcza natomiast Dziennik jej córki, Heleny Szymanowskiej-Malewskiej, powstały w latach 1827–1857 – przed i po ślubie z Franciszkiem Malewskim (1800–1870), przyjac...
Polish American studies, Apr 1, 2010
... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... more ... 16Dante Gabriel Rosetti was a writer, poet, and painter, the initiator of the pre Raphaelite ... Times, March 11, 1917), is illustrated with portraits of Paderewski, Eugen d'Albert, Vladimir de ... Literary Critics and Scholars, 1850-1880, John W. Rathburn, Monica M. Grecu, eds., (The ...
The Polish Review, Jul 1, 2012
Polish American studies, Oct 1, 2010
... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish... more ... Polish Canadian), John Z. Guzlowski, Oriana Ivy, Leonard Kress, Anna Maria Mickiewicz (Polish English), Elisabeth Murawski, Lusia Slomkowska, Margaret C ... to the Chopin-Sand liaison occur in poems by: Austin Alexis, Sheila Black, Sharon Chmielarz, Jessica Day, Lori ...
Polin: Studies in Polish Jewry Volume 19
Tempo, 1994
On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind ... more On 22 April 1944 Béla Bartók wrote to his son, Peter:Spring has now indisputably arrived. A kind of ‘kutyafa’ (dogwood) is in bloom, like acacias flowering at home. The birds have become completely drunk with the spring and are putting on concerts the like of which I've never heard. They start with puty-puty-puty ./../../. and end up with various new bird sounds (clearly from later arrivals). The keeps on creating more and more variants.
Organised Sound, 1998
Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trum... more Let us imagine a situation: a listener seated in a concert hall witnesses a performance by a trumpet player (standing on the stage) of a sequence of four quarter-notes, with the pitches of B[flat ]3–A3–C4–B3. The listener chooses to ignore the immediate physical surroundings and hears one of the following: (i) four trumpet sounds equally spaced in time, (ii) a sequence of intervals – minor second, minor third, minor second, (iii) an instance of set 4-1, (iv) a motive referring to the name of BACH. The `web of interpretants' (term from Nattiez 1987/1990) surrounding a simple musical fact is already quite dense, even though we have only considered its aspects relating to pitch, pitch class and pitch notation (representation by letters). What if the performer's gestures, the facial expressions, the direction of the bell of the instrument became important? Might one say, then, that the music has become theatre?
Sarmatian Review, 2013
This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milos... more This book grew out of Charles S. Kraszewski's comparative project that, besides Czeslaw Milosz, entailed an investigation of three other modernist poets—Hector de Saint-Denys Garneau, Jan Zahradnicek, and Elisabeth Langgasser. The study owes its present shape to the method chosen by its author who subjects his expertise in "close reading" and "in-depth explications de texte" (1) to the rigors of the chronology of Milosz's life. Hence, the reader obtains a solid monograph on the celebrated Polish Nobel Prize laureate that follows the movement of the poet's Weltanschauung, trying to perceptively identify its most significant moments and swerves. Thus, of Milosz's prewar poetry narrators Kraszewski says that, although facing suffering and despair, "their response to the troubles of life is: pity, mercy, and, in the end, faith, trust" adding quickly in a gesture that suggests the course of his future analysis that "it will not always be thus" (50). In conjunction with the biographical ramifications of the monograph, we move to the immediate postwar verse dominated by the conviction that, independent of political expediencies, "the imperative of moral choice is never suspended" (66), and after that to the stubborn dedication to the topographical and cultural realities of the lost homeland invigorated by his California exile, which ultimately became less a threat and more "a redemption from the jaws of annihilation, a rescue" (96). In the 1970s and 1980s the sense of the crisis of civilization bereft of moral sense intensifies but is countered by the fact that "Milosz cannot (fortunately) get away from the Thomism of his early education, his logical certainty of the existence of an Absolute" (158), which nevertheless does not save the poet from entering, in the final years of his life, areas "he was not intended, or perhaps qualified, to visit" (240), that is, theology, which risky stride results in a highly unorthodox vision of "the poverty of God, his impuissance" and colors Milosz's thought with dualism and "uncomfortable obsession with the 'presence' of evil in the world" (212).
This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in P... more This chapter looks into the devastating impact of the Holocaust in Jewish musical creativity in Poland. It discusses the inclusion of Jewish composers in the world of Polish music by its post-1945 historians. It also examines the presence of Jewish composers in Poland's musical world before 1939 and the disappearance of these composers as shown by official publications, dictionaries, and music histories up until 1989. The chapter reviews all the composers of Jewish origin who were alive in September 1939, regardless of their attitude and relationship with Judaism. It mentions the most important composers of Jewish descent but not of Jewish faith, such as Józef Koffler, who gave up his official Jewish religious allegiance in May 1939, and Roman Palester, who was baptized Catholic as a baby.
This volume gathers interviews and studies of the music of the Polish composer, Henryk Mikołaj G... more This volume gathers interviews and studies of the music of the Polish composer, Henryk Mikołaj Górecki (1933-2010). Contributors include the composer himself – in a series of interviews spanning his entire career, from 1962 to 2008 – as well as leading Górecki scholars from Poland, the U.K., the U.S., and Australia. Chapters highlight three of the four symphonies: the Second Copernican (Kinga Kiwała), the Third, The Symphony of Sorrowful Songs (Maja Trochimczyk) and the Fourth Tansman Episodes (Andrzej Wendland). Two studies by eminent Polish scholar and Górecki’s personal friend, Prof. Teresa Malecka present the composer’s links to Polish musical traditions and an overview of his piano music. An overview of Górecki’s life and career and a case study of his visit to Los Angeles in 1997, when he conducted his Third Symphony for the first time outside of Poland, round up the volume. The collection includes also a list of works, music examples, portraits, photographs, and a bibliography.