Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin
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Szczecin
Akademia Sztuki, Wydział Instrumentalny
2016
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| 246 | 1 | 3 | |a Muzyka saksofonowa |
| 246 | 1 | 1 | |a The saxofone in works by American composers of Polish origin |
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Datensatz im Suchindex
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| adam_text | SPIS TRESCI WSTĘP.............................................................................................................5 PODZIĘKOWANIA...................................................................................... 6 Rozdział I LISA CAROL BIELAWA..............................................................................7 Rozdział II LEE HYLA (LEON JOSEPH HYLA)........................................................9 Rozdział III BARBARA JAZWINSKI............................................................................. 13 Rozdział IV JAN KRZYWICKI........................................................................................ 21 Rozdział V JOSEPH LYSZCZARZ....... .........................................................................29 Rozdział VI DAVID MAŚLANKA.................................................................................. 39 Rozdział VII ROBERT MUCZYŃSKI.............................................................................63
Rozdział VIII ROGER PRZYTULSKI 71 Rozdział IX DAVID RAKOWSKI............................................................................ 81 Rozdział X FREDERIC RZEWSKI..........................................................................85 Rozdział XI JERZY SAPIEYEWSKI (SAPIEJEWSKI).............................................93 Rozdział XII MARILYN SHRUDE ............................................................................97 ZAKOŃCZENIE................................................................................... 117 ŹRÓDŁA................................................................................................ 121 ŹRÓDŁA INTERNETOWE.................................................................121 SUMMARY............................................................................................ 127 WYKAZ KOMPOZYTORÓW OMAWIANYCH W NINIEJSZEJ PRACY I ICH UTWORÓW SAKSOFONOWYCH........................................... 135 INDEKS NAZWISK...............................................................................141 LISTA PRZYKŁADÓW MUZYCZNYCH..........................................151
ŹRÓDŁA Margalit Fox, Lee Hyla, 61, Who Mixed Rock and Jazz Into Classical Works, Dies, New York Time,14. 06. 2014. Eric M. Nestler, Analytical Considerations in the Preparation for Perfor mance of Marilyn Shrudes “Renewing the Myth”, The Saxophone Sym posium. Journal of the North American Saxophone Alliance. Volume 32 (2008). Mary Natvig, Guggenheim Fellow Marilyn Shrude: Memóriák and Memo ries, IAWM Journal Volume 18, No. 2 (2012). Anne Marie Thurmond, Selected woodwind compositions by Robert Muczynski: a stylistic and structural analysis ofMuczynskis Sonata, opus 14. for flute and piano. Sonata, opus 29. for alto saxophone and piano. Time pieces, opus 43. for clarinet and piano, and Moments, opus 47. for flute and piano, The University of Georgia, 1998. Saxophone Journal, 1994 Saxophone Journal, 1993 Korespondencja własna autora z kompozytorami ŹRÓDŁA INTERNETOWE http://www.sfgirlschorus.org/lisa-bielawa (dostęp 15.08.2015). http://leehyla.com/leehyla.html (dostęp 10.09.2015).
122 Źródła http://www.arkivmusic.com/classical/Drilldown?name_idl=5713 name_role 1=1 bcorder=1 comp_id=271875 (dostęp 21.09.2015). http://www.arkivmusic.com/classical/Drilldown?name_idl=57138mame_ role 1=1 comp_id=48084 bcorder=158mame_id=34580 name_role=2 (dostęp 21.09.2015). http://www.amazon.com/Paradigm-Lost-Saxophone-Lee-Hyla/ dp/0825889650/ref=sr_l_l?s=music ie=UTF8 qid=1443337646 sr=8-l keywords=Paradigm+Lost+Hyla (dostęp 21.09.2015). http://www.marilynshrude.com/ (dostęp 15.08.2015). http://www.marilynshrude.com/works/ (dostęp 15.08.2015). http://www.marilynshrude.com/works/renewing-the-myth/ (dostęp 15.08.2015). http://davidmaslanka.com/ (dostęp 20.08.2015). https://en.wikipedia.org/wiki/David_Maslanka (dostęp 20.08.2015). http://davidmaslanka.com/further-notes-on-music-performance-1999/ (dostęp 25.09.2015). http://davidmaslanka.com/music-in-life-2002/ (dostęp 27.09.2015). http://davidmaslanka.com (dostęp 27.09.2015). http://www.arkivmusic.com/classical/Name/Robert-Muczynski/Composer/8436-1) (dostęp 15.08.2015). https://en.wikipedia.org/wiki/Robert_Muczynski (dostęp 17.08.2015).
Źródła 123 http://www.allmusic.eom/artist/frederic-rzewski-mn0000683647/biography (dostęp 15.09.2015). http://composers21.com/compdocs/rzewskif.htm, website by Ron Han nah (dostęp 10.12.2014). http://www.telegraph.co.uk/culture/music/classicalmusic/6987672/Frederic-Rzewski.html (dostęp 10.12.2014). http://www.arkivmusic.com/classical/Drilldown?name_id=105198mame_ role=l comp_id=481104 (dostęp 25.09.2015). http://composers21.com/compdocs/rzewskif.htm (dostęp 25.09.2015). http://www.zoominfo.eom/p/Jerzy-Sapieyevski/161937606 (dostęp 15.10.2015). http://www.ziodavino.net/p/bios-of-various-wordiness.html (dostęp 4.04.2016).
THE SAXOPHONE IN WORKS BY AMERICAN COMPOSERS OF POLISH ORIGIN CONTENTS INTRODUCTION.................................................................................. 5 ACKNOWLEDGMENTS......................................................................6 CHAPTER I LISA CAROL BIELAWA....................................................................... 7 CHAPTER II LEE HYLA (LEON JOSEPH HYLA).................................................. 9 CHAPTER III BARBARA JAZWINSKI.......................................................................13 CHAPTER IV JAN KRZYWICKI................................................................................. 21 CHAPTERV JOSEPH LYSZCZARZ..........................................................................29 CHAPTER VI DAVID MAŚLANKA.......................................................................... 39
і 26 Contents CHAPTER VII ROBERT MUCZYŃSKI...................................................................... 63 CHAPTER VIII ROGER PRZYTULSKI........................................................................ 71 CHAPTER IX DAVID RAKOWSKI............................................................................ 81 CHAPTER X FREDERIC RZEWSKI..........................................................................85 CHAPTER XI JERZY SAPIEYEWSKI (SAPIEJEWSKI)............................................ 93 CHAPTER XII MARILYN SHRUDE ............................................................................ 97 CONCLUSION...................................................................................... ID BIBLIOGRAPHY.................................................................................. 121 INTERNET SOURCES................. 121 SUMMARY............................................................................................ 127 LIST OF THE COMPOSERS AND THEIR MUSIC FOR SAXOPHONE.................................................................................135 INDEX OF NAMES...............................................................................141 INDEX OF MUSICAL EXAMPLES 151
126 5 Contents SUMMARY CHAPTER VII ROBERT MUCZYŃSKI....................................................................63 CHAPTER VIII ROGER PRZYTULSKI......................................................................71 CHAPTER IX DAVID RAKOWSKI..........................................................................81 CHAPTER X FREDERIC RZEWSKI....................................................................... 85 CHAPTER XI JERZY SAPIEYEWSKI (SAPIEJEWSKI)...........................................93 CHAPTER XII MARILYN SHRUDE ......................................................................... 97 CONCLUSION................................................................................... 117 BIBLIOGRAPHY............................................................................... 121 INTERNET SOURCES....................................................................... 121 SUMMARY.........................................................................................127 LIST OF THE СОМРОЅјвШО THEIR MUSIC FOR SAXOPHONE... 135 INDEX 141 IND^^ř 151 For many years I have followed, with great interest and pleasure, the development of American literature for the saxophone - as a perfor mer, teacher and listener. From time to time I encountered composers with Polish names and soon realized that composers of Polish origin had made very real contributions to the body of works for saxophone and that these works were not widely known. This book seeks to demonstrate the contribution that Polish Ame rican composers have made to the repertoire for saxophone. The
book includes a short resume of each composer and a discussion of their work(s) for saxophone along with some remarks about their style and compositional approach. Most of the information was obtained from the composers themselves, an outcome of my discussions with them in person, or through e-mail. In some cases I was compelled to rely on materials obtainable on the web. Though this text does not include any statistical study that illustra tes what percentage these works comprise of the total American output for saxophone, it is easy to see that their contribution is considerable not only in quantity but also in quality. Equally important is that each of these works demonstrates a unique individuality. The information included in this text and the works that are discus sed are not presently known in Poland or to the wider public. It is ho ped that these compositions for saxophone will take their place in the repertoire of mature artists and be included in the syllabi of music uni versities. In this way, it is hoped that these highly recommended works will enrich and refresh the solo and chamber repertoire for saxophone. This book is comprised of twelve chapters that include biographical information about the particular relation of each composer to Poland thus lending their saxophone work(s) a wider perspective. ich pols
128 Summary Chapter I, titled Lisa Bielawa, is one of the shortest. The composer has written one composition for saxophone quartet entitled Double from 2010. Chapter II contains a profile of one of the leaders of the American music avant-garde, Lee Hyla. The composer, who passed away in 2014, left three valuable saxophone compositions: Pre-Amnesia for solo alto saxophone, We Speak Etruscan for baritone saxophone and bass clari net and Paradigm Lost for saxophone quartet. The reader will also find some short remarks made by the composer for these works. Chapter III is devoted to Barbara Jazwinski who emigrated to the United States in her youth and settled in New Orleans. She has compo sed two saxophone works: Images in Blue for saxophone quartet, and Blue Tango for oboe, clarinet, bassoon and saxophone. Chapter IV presents the biography and work of Jan Krzywicki. His only composition for saxophone, Fable for baritone saxophone and piano, was supplied to the author by the composer and subsequently performed during the Saxophone Festival Saxmania 2015 in Szczecin. Joseph Lyszczarz is a representative of the youngest generation of composers. His saxophone works, discussed in Chapter V, include Blue Shift for alto saxophone and piano, Invocation for soprano saxophone, alto saxophone and piano, and his latest work Refractures (2015) for alto saxophone, flute and piano that was composed for the author of this book and Trio Invenţia. Through the courtesy of the composer, the reader will find fragments of Invocation and Refractures along with short descriptions of the works.
Chapter VI, discussing the saxophone works of David Maślanka, is one of the longest sections of the book due to the huge output of the composer and the scope of works discussed. The reader will find a discussion, supported by examples, of several major compositions: the composers first work for saxophone, Heaven to Clear When Day
Summary 129 Did Close: Fantasy on a Theme of Barney Childs for tenor saxophone and string quartet (1981), the Sonata for saxophone and piano (1987), the saxophone quartet Recitation book (2006) and comments to other works. I also include many comments of the composer, some of his statements regarding the process of composing, and his philosophical thoughts on the composer - performer - listener relationship. Robert Muczynski is one of the saxophone literatures major com posers. In Chapter VII, in addition to the biographical note on this composer, I also include a few lesser ֊ known details related to the Sonata for saxophone and piano, and the Concerto for saxophone and orchestra— information that was obtained directly from Trent Kynaston, to whom these works were dedicated. Chapter VIII is devoted to a young composer with Polish-Korean roots, Roger Przytulski. This composer wrote three works in which sa xophone is used: Chamber Dances for flute and saxophone or violin/ viola, Fountain Dances for saxophone quartet, Hot House for saxopho ne ensemble, and Portraits and Sketches for alto saxophone and piano. In his works, the composer looks for his own composing language by combining the influence of jazz, rock and classical music. The saxophone works of David Rakowski are described in Chapter IX. Rakowski is the author of two saxophone compositions: Compass for saxophone quartet, and Exact Change for flute and soprano saxop hone. In both these works, the composer uses modern performance techniques. Chapter X is devoted to a composer of the avant garde who is un
deservedly neglected in Poland, Frederic Rzewski. Worldwide he is praised primarily for his piano works and also as an interpreter of his own music. Rzewski wrote several interesting compositions of inde terminate instrumentation that can be performed by saxophonists, for example Spots, performable on saxophone or clarinet. Shtick. Histo-
130 Summary ries for saxophone quartet is the only strictly saxophone work in the composers output. In Chapter XI, the reader will encounter the profile of Jerzy Sapieyewski, a composer who can be classified as both a Polish composer and an American composer. Born in Lodz, Poland he has, however, lived in the United State since he was twenty-two years old and is recognized in the U.S. as an American composer. Sapieyewski is the author of a very successful composition for alto saxophone and string orchestra, Aria (1974). The composer generously made available the score for the first Polish performance of the work in 2015 in Szczecin and agreed to the inclusion of several musical examples in the text. The last chapter, Chapter XII, comprises the profile and output of Marilyn Shrude. Her works for saxophone are numerous, often featu ring the saxophone in a very important role, and immensely spiritual - rich with subtle undertones in lyrical sections and also dynamic in moments of culmination. Her saxophone works are often composed in collaboration with her husband, saxophonist John Sampen. The book ends with a short summary of the works included in the text. In the following section, there is a list of composers and compo sitions included therein, and an index of names and musical examples. In summary, it can be stated that the creative production demon strated here represents a rich stylistic variety of compositions by an array of unique composers offering a wide aesthetic spectrum. This output consists of large works for saxophone and brass band (Maślan ka) as well as
refined, thoroughly intellectual chamber works (Shrude). Modern “middle of the road” works are also found, especially in the saxophone quartets of Maślanka and Rakowski, the trios of Shrude, Lyszczarz, and some compositions for saxophone with piano (Krzywi cki). Composers such as Jazwinski or Przytulski, meanwhile, incorpo rate the influence of jazz and pop music, and in their chamber works
Summary 131 expose the coloristic and technical potential of the saxophone family. Many works contain modern performance techniques, referring in part to the experimental music of the 1960s and 1970s-though in new, individual ways. This is especially seen in the solo compositions or compositions with piano accompaniment made by such composers as Frederic Rzewski, Marilyn Shrude and Lee Hyla. A special place in this book is occupied by Robert Muczynski. His notable saxophone works, the Concerto for saxophone and orchestra Op. 41 and the So nata for saxophone and piano Op. 29 while well-known and liked by the majority of saxophonists are discussed in the text with additional information not known to a wider circle of performers, information that is likely to complement current knowledge on the composer and these works. Among the composers discussed here, the expressed compositional interest in the saxophone is quite wide. For some composers the saxop hone has so far been a one-time adventure (Bielawa, Krzywicki). For others, the saxophone has been a most important medium, composers like Shrude and Maślanka. Depending on the composer, the type of writing for saxophone is also very diversified. For Maślanka, the sa xophone is seen as a strong instrument with a huge dynamic potential as an instrument in chamber works and as a soloist in works accompa nied by brass band. In Shrude’s chamber compositions, the saxopho ne writing is very intimate, slightly meditative, though still capable of some ecstatic outbursts. The compositions in this book have no clear references to
Polish musical traditions, folklore, or folk music. The individual composers have found inspiration mainly in their own experience and mood. Per haps a detailed study might uncover sources for their style or compo sitional process. The majority of composers included in this book are first or second generation Polish Americans, and while they do not know the Polish language, they have strong memories of the Polish spirit and of the
132 Summary language being spoken by their parents or grandparents. Theirs is a “transient” generation, combining personal memories of their Polish origins with a total assimilation into American society. The majority of these composers have some knowledge of their Polish family hi story and the origins of their ancestors. In some cases the knowledge is quite extensive (Shrude) while for others it is more superficial and does not venture very far back into their Polish background. In gene ral, the composers can provide information on the locations of origin of their grandfathers or great grandfather while at other times they can only say “probably” or “near” this or that location. Some are only partly of Polish origin, the succeeding generations being representati ves of other nationalities. From this viewpoint, some of the composers might be more properly identified with a nation other than Poland. Among active composers in the United State today are also persons who emigrated many years ago and are now citizens of the country, their professional life closely connected with American artistic institu tions (Sapieyewski, Jazwinski). They are also included in this research. The United States is obviously not the only country where we can find composers of Polish origin. We can also mention Canada here (Piotr Grela-Mozejko, Jacek Sobieraj), Australia (Tomasz Spiewak), Europe (Piotr Moss). These cases should be studied not only in an ar tistic context but also in a sociological one. It would be interesting to know what portion of the Polish emigration has become an
intellectual elite abroad. This book was written as a project of the Instrumental Institute of the Academy of Arts in Szczecin. Support for the project “Saxophone music in the works of American composers of Polish origin” allowed not only the creation of this work but also and equally important, the performance of many works, that have been unknown or less known to a wider audience both in Poland and abroad.
Summary 133 Therefore, I am thankful to my colleagues from the Instrumental Institute of the Academy of Arts in Szczecin and to its Dean, Jerzy Siemak, PhD, for approval and fulfillment of the project. The work on this subject provided me with an excellent opportu nity to know the composers - unusual people with great talent and often with a visionary personality. Their openness, readiness for co operation, their warmth and kindness were present in every commu nication. This and their assistance in providing me with information and scores significantly improved the merits of my work. So, I express my thanks to all the composers, whom I had the opportunity and plea sure to meet. I would like to ask the forgiveness of any composers who I may have unintentionally overlooked in this research. The following composers made available their compositions for the purpose of this work and consented to publish the examples drawn from them. I would like to express warm thanks to them for this. Jan Krzywicki Barbara Jazwinski Joseph Lyszczarz David Maślanka and Matthiew Maślanka Roger Przytulski David Rakowski Frederic Rzewski Marilyn Shrude I also kindly thank the publishing house C.F. Peters Corporation for their consent to publish the example notes of Lacrimosa as well as Compass and Exact Change. Lastly, I would like to thank Zdzisław Matejuk for translating the Summary into English, and to Jan Krzywicki for editing it. (Author)
INDEKS NAZWISK ADAMS, JOHN - 31. ALBONETTI, MARCO ֊ 55. ALBRIGHT, WILLIAM ֊ 31,114. ALBRIGHT, WILLIAM ֊ 31,114. ANDREWS, KENNETH - 30 ANTONIOU, THEODORE ֊21. ASSIMAKOPOULOS, NINA - 99. BABBITT, MILTON ֊ 82, 85. BACH, JAN SEBASTIAN - 43, 55,100. BAER, EMILY ֊ 108. BAIRD, MARTHA - 41. BARBER, SAMUEL - 65. BARRERA, JAMES - 72. BARTÓK, BÉLA ֊ 23, 64. BEETHOVEN VAN, LUDVIG ֊ 10. BENTLEY, JUDITH ֊ 99. BENTLEY, JULIA - 99. BERIO, LUCIANO - 82,100. BERNE, TIM - 9,12. BERNSTEIN, LEONARD - 64. BESNIER, DANIEL ֊ 15. BIELAWA, LISA CAROL ֊ 3, 7, 8,117,121,125. BOULANGER, NADIA ֊ 22. BOULEZ, PIERRE ֊31. BRAHMS, JOHANNES - 114. BREWSTER, CORNELIA ֊ 30. BROBERG, KIRSTEN ֊ 30. BROOK, STONY - 9. BROWN, VELVET - 99. CAGE, JOHN - 100. CAINE, JENNIFER - 99.
142 Indeks nazwisk CARDUCCI, CHRIS - 102. CARTER, ELLIOTT - 10, 21, 31. CASTALDO, JOSEPH ֊21. CEELY, ROBERT - 82. CHANGNARD, CHRISTOPHE ֊ 99. CHILDS, BARNEY - 44, 60, 126. CHOI, WINSTON - 99. CHOPIN, FRYDERYK - 13, 21, 87. CHOWNING, JOHN - 13. CHRISTIE, TIMOTHY ֊ 99. CHUNG, MIA - 9. CORRIGAN, ANN ֊ 99. CUCKSON, MIRANDA ֊ 99. CURRAN, ALYIN ֊ 85. CUSTER, GEORGE - 11. DALLAPICCOLA, LUIGI - 85. DAMIAN, (B/D) - 29. DANIEL, GERALD R. - 77. DAVIDOVSKY, MARIO - 13. DEBUSSI, CLAUDE - 100. DESENCLOS, ALFRED - 114. DIEMER, EMMA LOU - 99. DIETZ, CHRISTOPHER - 30. DOBROWOLSKI, ANDRZEJ - 13. DONATONE FRANCO - 31. DRURY, STEPHEN - 9. DUNHAN, BEN - 94. DUSMAN, LINDA - 114. EICHLER, JEREMY - 11. ERVAMAA, KATRI ֊ 100. FISCHER, CARL - 10, 12, 40, 41. FITZPATRICK, ROBERT ֊ 99. FOX, MARGALIT ֊ 11, 121. FRANKOWSKA, MARIA; zob. FRANKOWSKI, MARY
Indeks nazwisk 143 FRANKOWSKI, MARY ֊81. FREDENBURG, SEAN - 87. FREEMAN-BROWN, EMILY - 99. FREIFELD, ESTHER ֊91. FROMM, PAUL (fundacja) - 83, 99. GAGE, STEVEN - 99. GALU, IOANA - 99. GAZZELLONI, SEVERINO - 85. GESUALDO, CARLO - 56, 61,126. GINSBERG, ALLEN - 11. GLASS, PHILIP ֊ 7, 11. GŁAŻEWSKA, JUSTYNA ֊ 24. GORDON, JUDITH - 9. GOURY, JEAN-MICHEL ֊ 99. GRANGER, MILTON ֊ 65. GRELA- MOŻEJKO, PIOTR - 119. GRELOWSKI, PIOTR ֊ 24. GUGGENHEIM, BENJAMIN (fundacja) - 9, 82, 98, 101,121. GUY, CHARLES - 99. HANNAH, RON ֊ 86,123. HEISS, JOHN - 9, 82. НЕМКЕ, FREDERICK ֊ 99, 101. HEWES, LARRY - 8. HEWES, MARY - 8. HEWETT, IVAN - 87. HIMES, JANNA - 99. HINTON, HUGH - 99. HOSTETLER, RANDY - 8. HUSA, KAREL ֊ 82. HYLA, LEE (LEON JOSEPH HYLA) - 3,9,10,11,12,117,121,122,125. HYTREK, THEOPHANA ֊ 100. IBERT, JACQUES - 114. JANOVICH, JANELLE - 72. JAZWINSKI, BARBARA ֊ 3, 6,13,14,117,119,125.
144 JUTKIEWICZ, AGNIESZKA - 31, 94. KAMIŃSKI, (B/D) - 39. KARLINS, M. WILLIAM ֊ 98. KEENE, DENNIS - 99. KELLY, MARK - 99. KICHEEGINA, EKATERINA ֊ 99. KIM, YEJI ֊ 108. KNUPFER, WALTER ֊ 64. KOKORAS, PANAYIOTIS - 30. KOŁODNY (B/D) ֊ 39. KOUSSEVITZKY, SERGE - 83. KRZYWICKI, JAN ֊ 3, 6, 21, 22, 23, 24, 81,117,125. KUEHN, MIKEL - 30. KUMOI, MASATO ֊ 56. KYNASTON, TRENT - 65, 66, 67, 68, 69, 70. LAMNECK, ESTHER ֊ 14. LANSKY, PAUL ֊ 82. LECLAIR, JACQUELINE ֊ 99. LEMOINE, HENRY ֊ 99, 113. LEVINGSTON, BRUCE ֊ 8. LEWANDOWSKI, NORBERT ֊ 100. LEWIN, DAVID ֊ 9. LIGETI, GYÖRGY ֊ 13. LILLIOS, ELAINIE ֊ 30. LISZT, FRANZ ֊ 48,114. LONDEIX, JEAN-MARIE - 99, 101. LONDON, ED ֊ 99. LORENZO DE, NICOLA ֊ 14. LUTOSŁAWSKI, WITOLD - 100,114. LYSZCZARZ, JOSEPH ֊ 3, 6, 29, 30,117, 125. MACKEY, CHARLES - 85. MARK, ANDREW ֊ 100. MARTINO, DONALD ֊31. MAS-AROCAS, OCTAVIO - 99. Indeks nazwisk
Indeks nazwisk 145 MAŚLANKA, DAWID - 3, 6, 39,40,41, 42,43, 44, 47, 48, 51, 52, 53, 54, 56, 59, 60, 61, 117,118, 122,125. MAŚLANKA, MATTHIEW ֊ 6,48. MASSEY, ANDREW ֊ 99. MATTIL, EDWARD ֊21. MAUK, STEVEN - 67. MAY, ANDREW ֊ 30. MCDERMOTT, ANNE-MARIE - 99. MEIGHAN, PATRICK ֊31. MESSIAEN, OLIVIER ֊ 100. MIAHKY, STEPHEN ֊ 99. MILHAUD, DARIUS ֊ 22. MITERA, ANNA - 97. MITERA, JEANNETTE ֊ 97. MITERA, JOSEPHINE - 97. MITERA, LILLIAN - 97. MITERA, MARY - 97. MITERA, PAULINA - 97. MITERA, STELLA - 97. MITERA, VINCENT - 97. MITERA, WINCENTY; zob; MITERA, VINCENT MORTAROTTI, MICHAEL ֊31. MOSS, BRUCE - 99. MOSS, PIOTR - 119. MUCZYÑSKI, ROBERT ֊ 3,63,64, 65, 66, 67, 68, 69, 70,117,121, 122, 127. NATVIG, MARY ֊ 101, 121. NAUMBURG, WALTER W. ֊ 83. NESSINGER, MARY ֊ 9. NESTLER, ERIC zob. NESTLER, ERIC M. - 114,121. NORTH, JAMES H.֊ 113. NOWAK, GRZEGORZ ֊ 99. OLIN, CAMILLE - 53. OPIEKUN, MALKA; zob; PICON, MOLLY
146 PADEREWSKI, IGNACY JAN - 87. PADULA, DAWN ֊ 99. PAGANINI, NICCOLO - 114. PAROLA, MICHAEL - 100. PAUKERT, KAREL - 99. PAYNTER, JOHN ֊ 99. PERCONTI, BILL ֊ 87. PERSICHETTI, VINCENTO - 21. PETERS, CARL FRIEDRICH (korporacja) ֊ 6. PETERSON, RUSSEL ֊ 43, 61. PETTERSSON, ALLAN ֊ 48. PEYTON, MALCOLM ֊ 9. PHILIPP, JEAN-FRANÇOIS - 15. PICON, MOLLY - 88. PIERCE, BEN - 99. PISTON, WALTER ֊ 85. POGOSSIAN, MOVSES - 99. POTTS, LEO ֊ 77. POULENC, FRANCIS ֊ 14, 15, 48. POZDRO, JOHN - 21. PRESSER, THEODORE - 14, 22, 68, 69, 95. PRZYTULSKI, (B/D) - 71. PRZYTULSKI, ROGER ֊ 3, 6,117, 127. PULITZER, JOSEPH (nagroda) ֊ 64, 65, 70, 83. RACHMANINOW, SERGEI - 114. RAKOWSKI, CHARLES - 81. RAKOWSKI, DAVID - 4, 6, 81, 82, 83, 117,127. RAKOWSKI, KAROL; zob. RAKOWSKI, CHARLES RAKOWSKI, STANLEY - 81. RAMPAL, JEAN-PIERRE ֊ 64. RASCHER, SIGURD -101. REED, H. OWEN - 40. REIDLING, JACK ֊ 77. REPIN, VADIM - 9. Indeks nazwisk
Indeks nazwisk 147 RHEIN VON, JOHN - 11. RIDER, RHONDA ֊ 9. ROCHBERG, GEORGE ֊ 114. ROCKEFELLER, JOHN D. (fundacja) - 22,41, 82, 98. ROMEO, JAMES ֊ 77. ROTTERMUND, BOGUSŁAW ֊ 2. RUSZAŁA, EWA ֊31. RZEWSKI, FREDERIC - 4, 6, 85, 86, 87,90, 91,117,123,127. SACAWA, BRIAN - 11. SAMELS, ROBERT - 102. SAMÓL DARIUSZ ֊1,2. SAMPEN, JOHN ֊ 98, 99,102, 108, 113. SAMPEN, MARIA ֊ 99,108. SANDERLING, STEFAN ֊ 99. SAPIEYEWSKI (SAPIEJEWSKI), JERZY ֊ 4, 93,94,119,123,128. SATTERLEE, ROBERT - 99. SAX, ADOLPHE ֊98,114. SCELSI, GIACINTO - 12. SCHNITTKE, ALFRED - 31. SCHOENBERG, ARNOLD - 31. SEGHEZZO, DAVID - 15. SESSIONS, ROGER - 85. SEXAUER, MATTHEW - 23. SHRUDE, MARILYN ֊ 4,6,11,97,98,100,101,102,113,114,115, 117, 118, 121,122,128. SIEMAK, JERZY - 6. SINTA, DONALD ֊ 66,99. SISKIND, PAUL ֊ 30. SKOWRON, (В/D) ֊ 39. SMITH, HENRY CHARLES ֊ 99. SMITH, STEVEN - 99. SMITH, ТІМ-9, 11, 12. SOBIERAJ, JACEK - 119. SOKOŁOWSKI, (В/D) ֊ 29.
148 SPANGLER, ERICK ֊11. SPANO, ROBERT - 99. SPIES, CLAUDIO ֊ 85. SPIEWAK, TOMASZ ֊119. STACHURA, MIECZYSŁAW ֊ 2. STACHURSKI, (B/D) - 71. STEIGHNER, ERIK - 87. STEINBERG, PAUL ֊ 30. STOEGER, ELISE. L ֊ 9, 82. STOUT, ALAIN ֊ 98, 100. STRUNK, OLIVIER ֊ 85. SULLIVAN, DUKE ֊ 87. TAKEDA, YOSHIMI ֊ 68, 69. TAKEMITSU, TORU ֊ 97, 108, 128. TAMARKIN, KATE - 99. TAYLOR, CECIL - 10. TAZAWA, ERIK - 31. TCHEREPNIN, ALEXANDR - 64. TEITELBAUM, RICHARD ֊ 85. THOMPSON CARVER, RUTH ֊ 67. THOMPSON, RANDALL ֊ 85. THURMOND, ANNE MARIE ֊ 66, 68, 69, 70,121. TJANDRA, IVANA ֊ 108. TOMMASINI, ANTHONY ֊ 10. TOWER, JOAN ֊ 99. VALEK, VLADIMIR - 99. WAGNER, RICHARD ֊ 85. WANAMAKER, GREGORY ֊ 30. WESTERGAARD, PETER - 82. WHEELER, SCOTT - 11. WOJTKOWIAK, (B/D) ֊ 71. WOOD, JOSEPH - 40. WU, SHE-E ֊ 9. YAN, MARIE-THERESE ֊ 15. Indeks nazwisk
Indeks nazwisk YUN, ANDREA - 100. ZALIOUK, YUVAL - 99. ZARZYCKI, JAN MIŁOSZ - 94. 149
|
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| author | Samól, Dariusz |
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| building | Verbundindex |
| bvnumber | BV044017315 |
| ctrlnum | (OCoLC)1111831242 (DE-599)BVBBV044017315 |
| format | Book |
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| geographic | USA (DE-588)4078704-7 gnd |
| geographic_facet | USA |
| id | DE-604.BV044017315 |
| illustrated | Illustrated |
| indexdate | 2024-12-24T05:39:51Z |
| institution | BVB |
| isbn | 9788363072056 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-029424920 |
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| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 153 Seiten Porträts, Notenbeispiele |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Akademia Sztuki, Wydział Instrumentalny |
| record_format | marc |
| spellingShingle | Samól, Dariusz Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin Komponist (DE-588)4032009-1 gnd Polen Volk (DE-588)4046497-0 gnd Saxofonmusik (DE-588)4374556-8 gnd |
| subject_GND | (DE-588)4032009-1 (DE-588)4046497-0 (DE-588)4374556-8 (DE-588)4078704-7 |
| title | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin |
| title_alt | Muzyka saksofonowa The saxofone in works by American composers of Polish origin |
| title_auth | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin |
| title_exact_search | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin |
| title_full | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin Dariusz Samól |
| title_fullStr | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin Dariusz Samól |
| title_full_unstemmed | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia = The saxofone in works by American composers of Polish origin Dariusz Samól |
| title_short | Muzyka saksofonowa w twórczości kompozytorów amerykańskich polskiego pochodzenia |
| title_sort | muzyka saksofonowa w tworczosci kompozytorow amerykanskich polskiego pochodzenia the saxofone in works by american composers of polish origin |
| title_sub | = The saxofone in works by American composers of Polish origin |
| topic | Komponist (DE-588)4032009-1 gnd Polen Volk (DE-588)4046497-0 gnd Saxofonmusik (DE-588)4374556-8 gnd |
| topic_facet | Komponist Polen Volk Saxofonmusik USA |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029424920&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029424920&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029424920&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029424920&sequence=000007&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029424920&sequence=000009&line_number=0005&func_code=DB_RECORDS&service_type=MEDIA |
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