Journal articles on the topic 'Mazurka (Dance)'

The traditional musicological perspective on Chopin's slow, minor-key mazurkas and mazurka sections—that he modeled these episodes on the kujawiak, a Polish folk dance from Kujawy region — is plagued by contradictory statements. Re-evaluation of source material reveals that the kujawiak, as it is understood in relation to Chopin's mazurkas, is largely a creation of Polish nationalism after Chopin's time. In Chopin's own time, the term kujawiak is used only sporadically and appears to be interchangeable with mazur; by the end of the nineteenth century, however, the kujawiak becomes an important marker of Polishness for which authors offer specific but widely diverging musical characterizations. It is around this time that writers also begin to emphasize the kujawiak's impact on Chopin's mazurkas, forging a persistent link between this imagined “national dance” and his compositions. In place of these vague and conflicting constructs, it is proposed that Chopin used the slow mazurka—the kind widely but anachronistically called the kujawiak—to summon nostalgia for the spatially and temporally distant (and mythical) Poland, through musical styles and gestures that include reminiscence and allusion; auditory distancing; disruptions of form and genre; and surface distortions. Nostalgia as a cultural and medical concept also provides a prism through which his contemporaries perceived Chopin's illness, his experience in exile, and his music.

The article comments the cultural heritage of Polish officers, emi-grants after the November Uprising in Cape Verde and in Guinea-Bissau. The author characterizes the image of islands in books written by Polish emigrants in XIX century, including cross-cultural and axiological problems. He also mentions mazurka as a style of music and dance in his African avatar.

Abstract What George Sand characterized as the prevalence of “the unforeseen” in Chopin's music can be understood as his programmatic predilection. Within works whose generic titles promise nothing programmatic, he regularly introduces disruptions that announce a previously unsuspected persona in whose mind the music continues to unfold even as that persona brings the premises of the genre under scrutiny. In the Waltz in A♭, op. 42, for instance, a momentary interruption of the waltz beat, like the terminal interruption of the nocturne texture in the Nocturne in B, op. 32, no. 1, produces an ending that tests the capacity of the genre to absorb what most undermines it. In that Nocturne there is a second personifying tension between the genre-establishing texture of singing lines and the genre-challenging daubs of inconsistent damper-pedal coloring, drawing attention to the hand of the composer at work and therefore—if we adopt the insight of Chopin's artistic interlocutor Eugène Delacroix—to his thinking presence. The Mazurka in C Minor, op. 56, no. 3, represents a reverse strategy. There an imagining mind is personified from the beginning, restlessly searching through a catalog of mazurka features, and it is only in the coda, when the music settles into its genre as dance music, that the persona—the element of the unforeseen—retreats.

Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.

As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.

The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.

Abstract The topic of this article is Eugeniusz Morawski’s ballet music analysed in the context of the search for national identity in Poland after it regained independence in 1918. The author’s reflection is focused on two fully preserved ballet compositions written in the 1920s. In the monumental four-part dance poem Miłość [Love] by Morawski, together with the author of the libretto, Franciszek Siedlecki, presents an allegorical journey of the pair of protagonists in search of spiritual renewal in a world threatened by progressive mechanisation. Their pilgrimage ends on Earth, and Mazurka is the central point of the last part of the composition. The two-part ballet Świtezianka [Fair Maiden from Svitez], written by the composer to his own libretto, contains in the first part a group scene in which the composer stylizes Polish folk dances. Morawski uses in these works numerous archaizing elements, such as col legno articulation in the strings or empty fifths in the bass; he also uses a pentatonic scale and modal scales, these fragments are distinguished by incisive rhythms. The composer’s treatment of folk material brings to mind an analogy between his work and the works of composers regarded as representatives of the national-folkloric trend in Polish music: Karol Szymanowski, Stanisław Wiechowicz and Roman Palester. Similar tendencies can also be observed in numerous literary and art works created during the inter-war period. A return to folklore and combination of its elements with modern composing techniques can also be found in the works of the most ou-standing representatives of the avant-garde: Igor Stravinsky and Béla Bartók.

Statement of the problem. The work of the Swedish violinist and composer Amanda Maier-Röntgen, a talented artist of the Romantic era, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, who was at one time a fairly recognizable artist in Europe and led an active concert activity, is practically unknown in Ukrainian musicology. In the works of foreign scientists, the composer’s achievements are also not sufficiently studied. At the same time, A. Maier composed a number of such opuses for the violin or with the participation of this instrument, which have undoubted artistic value and are now being rediscovered by contemporary performers and are gaining certain popularity. Among them are not only large-scale chamber works, but also cycles of violin miniatures – a genre that has not so often attracted the attention of composers, as, for example, the genre of piano miniatures and is also much less studied by scientists than the latter. Therefore, the study of A. Maier-Röntgen’s violin miniature samples seems promising both from the standpoint of updating the composer’s work in the modern musicological discourse, and in the context of the further enlargement of scientific ideas about the development of the violin miniature genre, as well as in regard to the problem of embodying national traditions in the music of composers of the second half of the 19th century. Recent research and publications. The creative personality of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler BrahmsKongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The special research dedicated exactly to A. Maier is J. Martin’s dissertation (2018). However, the author, researching the life and creative path of the artist in detail, describing her performance, almost does not touch on her compositional work, limiting herself to compiling a detailed list of A. Maier’s existing and lost works. Instead, the last chapter of J. Martin’s research is also devoted to the issues of gender inequality in the second half of the 19th century musical environment. The purpose of the article is to characterize the specifics of embodying the Swedish national folklore in Amanda Maier’s violin miniatures. For the first time in Ukrainian musicology, multifaceted connections of Amanda Maier’s violin works with the Swedish national folklore tradition were revealed. The research results is based on such methods as historically stylistic and genre-stylistic, as well as comparative approaches and analytical musicological methods, which allow to reveal the originality of the interaction of national and pan-European stylistic features in A. Maier’s violin miniatures. Conclusions. A. Maier’s two cycles for violin and piano fit into the tendency of many composers of the second half of the nineteenth century to search for national identity, and it seems reasonable to consider them as two milestones on this path in the composer’s work. The first cycle – “Six Pieces” for Violin and Piano of 1879 – demonstrates not so much a pronounced national colour as orientation towards the European traditions of creating dance miniatures and an indirect connection with the Swedish folklore tradition. The latter is realised both through the use of the violin, one of the main instruments in Scandinavian folk music, and through the use of dance styles common to the Swedish folk instrumental and European professional traditions, in particular, the minuet and mazurka. The second cycle – “Swedish Melodies and Dances” – is the result of A. Maier’s conscious appeal to the national roots. In this work, the links with the Swedish folklore tradition, both song and instrumental, are rich and varied, and manifest themselves at all levels of the artistic whole: melodically intonational (through characteristic rhythmic formulas and melodic turns), modal and harmonic, and at the level of compositional structure.

The article addressed the issue of using folk dance as a tool of propaganda by the communist party. It is not uncommon to associate the activity of folk groups with the period of socialist realism and the years that followed in. Folk song and dance ensembles have always been a colorful showcase of the country outside of its borders and have often added splendor to distinguished national events with their performances. Nevertheless, their artistic activity was not motivated solely by the beauty of Polish folklore, for folk ensembles formed after World War II were often created to aid the goals of the communist party. Reaching for folk repertoire and transferring regional songs and dances to the stage was seen as opposition to the elite culture. Cultural reform made performances accessible to the working class, and folk song and dance expressed admiration for the work of people in the countryside. In addition to traditional songs from various regions of Poland, the repertoire of these ensembles also included many songs in honor of Stalin and about the Polish-Soviet friendship. Paweł Pawlikowski’s award-winning film, Cold War, which partially follows a song and dance ensemble (aptly named Mazurek), shows many of the dilemmas and controversies that the artists of this period had to face.

Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces by the famous Ukrainian composer in order to determine their historical role in the domra performance is an urgent research task. The purpose of the research is to determine the role of I. Kovach’s creative heritage in contemporary domra performance in terms of traditions and innovations. The historical and typological, genre and style, and performanceinterpretative methods are used in the study. The study is based on the materials dedicated to I. Kovach’s creativity (Tyshko, 1980; Roschenko-Averianova, 2007; Hrytsun, 2015; Kostenko, 2009), the genre of the domra concerto (Slipchenko, 2021), the creative connections between a composer and a performer (MaidenbergTodorova, 2020), the specificity of the instrumental genres (Nikolaievska et al., 2020), which allow to reveal the modern potential of little-studied examples of creativity in the history of the domra. This aspect is not presented in any of the named sources. The research results. I. Kovach’s music for the domra is bright and positive, filled with light, joy, and goodness. The “Concertino” (1960) is melodious and easy to remember. The composer presented the domra as an academic solo instrument, preserving the principle of competition between the soloist and the orchestra (soli–tutti). A rather complex domra part still forces the performers to “strain” even today, despite the fact that the overall level of performing skills of the domra players at the beginning of the 21st century has grown “many times”. Dmytro Klebanov (1951) wrote the first composition in the genre of a concerto for the domra accompanied by a symphonic orchestra. I. Kovach creates an original composition for the domra, which cemented the tendency to conceptualize the instrument as a virtuoso one. The first performance of the “Concertino” with an orchestra of folk instruments took place in the hall of the Kharkiv Conservatory (the soloist – B. Mikhieiev, the conductor – Ye. Bortnyk). Against the background of the dominance of ideologically engaged “pseudo-folk” compositions, the sound of the domra was unusually modern. Today, this piece is considered a classic of the 20th century domra repertoire. All the themes of the “Concertino” are original, which was innovative at that time. The composition is built on the principle of contrast. The main dance-scherzo theme and the cantilena secondary theme together create a dynamic combination of active and lyrical images. The nature of the domra is revealed in such distinctive qualities as the elasticity of the string sound, the bright silver timbre, the expressiveness of the tremolo, and virtuosity, which successfully represent the “image of the world” of the composition, the spirit of youth, confidence, and joy. The “Concertino” is competitive and is included in the concert repertoire of performers of a high professional level. The performing interpretation of the piece is briefly described on the example of the recording of Anastasia Platonova. The printed score of the “Concertino” does not contain performance instructions (fingering, strokes, playing techniques, timbre colouring). The performer has to find them on his/her own. The same can be said about the “Mazurka”, because it exists in the form of the manuscript. It has been noted that the optimal performance edition of both I. Kovach’s compositions was developed in the domra class of the Department of Folk Instruments of Ukraine at the Kharkiv I. P. Kotlyarevsky National University of Arts. Conclusion. I. Kovach’s domra compositions form the newest principles of creativity for this instrument: original themes instead of folk ones, solo cadences for the domra, the highest level of virtuosity of the solo part. This line is followed by I. Kovach’s students M. Stetsiun and V. Ivanov, who will also write “Concertino” for the domra. Therefore, I. Kovach enriched the ensemble repertoire of the domra players. The semantics embedded in his works contributed to the idea of the domra as a “sound image of the world”, the artistic and technical capabilities of the instrument. Popularization of these pieces are definitely relevant. There is an urgent need for the newest performance edition of the compositions, taking into account the level of skill of modern domra players.

ABSTRACTWhile recent studies have explored the significance of the Polish style in the music of Georg Philipp Telemann and Johann Sebastian Bach, and the importance of Polish dances in Dresden has long been recognized, the eighteenth-century German polonaise remains a largely neglected area of inquiry. The restoration of the library of the Singakademie zu Berlin in 2000 has made it possible to explore an important collection of mostly unica sources of music by Saxon composers from c1740 to 1763 amassed by the Meissen porcelain mosaic artist Carl Jacob Christian Klipfel (1727–1802). Klipfel's collection includes music by Johann Christian Roellig (born 1716), possibly the most prolific composer of polonaises in Dresden during this period and one of the earliest German composers to write mazurs (mazurkas) in instrumental works. The first-hand knowledge of the Polish style that musicians employed by the Saxon electoral court and Count von Brühl gained as a result of frequent journeys to Warsaw resulted in Dresden polonaises that are relatively un-‘Germanized’. This article examines the social and musical contexts of the polonaise in mid-eighteenth-century Dresden, including the repertoire of the annual Redouten (masked balls), then examines the polonaises and mazurkas of Roellig and his contemporaries, including Johann Georg Knechtel, Georg Gebel and Gottlob Harrer. A survey of the use of the polonaise in Redoutentänze, symphonies and partitas reveals significant differences in style and structure between these genres.

W opracowaniu zaprezentowano stan obecny turystyki na obszarze województwa warmińsko-mazurskiego oraz perspektywy rozwoju tej formy aktywności. Wykorzystano dane pochodzące z Urzędu Statystycznego, Regionalnego Programu Operacyjnego na lata 2007-2013. Warmia i Mazury dysponują znaczącymi w skali europejskiej walorami przyrodniczymi, krajobrazowymi oraz kulturowo-etnicznym, które określają przewagę konkurencyjną i świadczą o wysokiej atrakcyjności turystycznej regionu. Na podstawie przeprowadzonej analizy SWOT stwierdzono, iż potencjał ten nie jest wystarczająco dobrze wykorzystany, przede wszystkim ze względu na zły stan infrastruktury turystycznej. Działania dotyczące eksponowania silnych stron, ukrywania słabości, wykorzystywania szans i eliminowania zagrożeń mogą doprowadzić w przyszłości do wzrostu znaczenia turystyki w gospodarce regionu.

Kuala Lumpur Knock-Out (henceforth to be known as “KL-KO”) is the second project of Kuali Works. KLKO is the most commercial performance staged by Kuali Works; this was the first time Kuali Works advertised its play in mainstream newspapers in the, as well as solid patronages from an impressive list of sponsors. Written and directed by Ann Lee, it was staged in Experimental Theatre, Kuala Lumpur in 1996. KL-KO revolves around the life of Tan Ai Leng (played by critically acclaimed dancer Mew Chang Tsing), a young Chinese woman from Penang who dreams of fighting Mike Tyson in an exhibitionboxing match in Kuala Lumpur. Simultaneously, her best friend Mazuri experience a rather unpleasant incident at her workplace. After 22 years, it is recompensing to look back at the relevance of the issues highlighted in this play. Simultaneously, one would realise that the elements of feminism discussed in this play are the real problems faced by women in this country, even after the new millennium.

Relevance of research. The long-awaited comprehensive study of the work of the classic of Ukrainian music V. S. Kosenko led to the appeal to "24 children's pieces for the piano" not only as (with the approach still widespread in musicology) to the object of children's, purely oriented on didactic-methodical tasks of musical literature, but as a deeply meaningful work of art. A scientific novelty is the use of comparative intonation analysis of Kosenko's and Chopin's music. The goal is to introduce the piece to the broadest context of European piano music. The research methodology is also based on the application of historical and comparative methods, source analysis, elements of complex musicological analysis, etc. The history of how musical literature FOR children of didactic purpose was replenished with the characteristics of musical literature ABOUT children was considered. The library created by I. S. Bach (small preludes, two- and three-part inventions, "Little Books") and sheet music compiled by L. Mozart to teach children (the first stage of their own) profession, were enriched with music about life situations, dreams, and feelings of children of the times of R. Schumann ("Album for Youth") and P. Tchaikovsky ("Children's Album"). "24 children's pieces for the piano" by V. Kosenko are written for children and about children of a new, modern author's era. The work is dedicated to "young pianists of our flourishing socialist Motherland." The heroes of the plays, like children of all times, have children's fun, toys, fantasies, fairy tales, lullabies in the family circle, and also life in a large team, hiking with pioneer songs, playing their contemporary heroes. Therefore, the dances "Waltz", "Mazurka", "Polka", "Ballet scene" are perceived as imported from another life -small in size, melodious, elegant, elegiac-dreamy pieces, moreover, they are all written in minor keys - dances that did not exist in the everyday life of that era. This music is a memory of one's own childhood, of the lost past. Conclusions. The main innovation that distinguishes the work from previous children's literature is the use of 24 tonalities laid out in parallel major and minor on the circle of fifths. The cycle "24 Preludes" by F. Chopin, the favorite composer, the companion of Viktor Kosenko's entire musical life, was written according to the same principle. The comparative analysis of monotone pieces (№№ 4, 6, 8, 11, 15, 19, 20, 22) of the two composers, making impossible the opinion about the external similarity and randomness of the organization of the musical material, proved the depth of the Ukrainian artist's understanding of the "creative spirit" of the Polish genius. Kosenko's appeal to Chopin's music is multifaceted. Often this is the appearance in children's plays of Chopin's intonation — the shortest melodic turn or expressive interval that carries the emotional idea of the work and performs this function in Kosenko's plays. Viktor Kosenko re-intonates, transposes, rhythmically changes the intonations of Preludes. They become elements of polyphony, enrich the harmony, the organization of phrases appears to be similar in the works, the metrorhythm, saturation of the texture is the same.

Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.

The purpose of the study is to identify the genre-stylistic specificity of the reproduction of the spiritual and ethical instructions of Sarmatism in Polish piano music of the XIX-XX centuries. The research methodology is based on the application of the following approaches: genre-stylistic, etymological, interdisciplinary, historical-cultural, which reveal the peculiarities of the reproduction of Sarmatian ideology in Polish piano music of the specified period. The scientific novelty of the article is determined by its analytical perspective, which takes into account the peculiarities of the reproduction of the Polish "Sarmatian" image of the world Polish piano (dance) music of the XIX-XX centuries. Conclusions. The Polish national "image of the world", which was historically formed on the basis of the noble ("Sarmatian") spiritual and ethical tradition, formed in the heyday of the Polish-Lithuanian Commonwealth, and appealed to such dominant qualities as pride, honour, knightly service, honouring the merits of the family, family patriarchal values and traditions in their high spiritual and religious sense, in many ways determined the specifics of Polish culture and the genre and style preferences of its musical art, focused on revealing the special significance of the song and dance tradition in its salon representation. The poetics of polonaise, mazurka, Krakowiak, thought and other genres related to it, corresponding to the spiritual and patriarchal traditions of Biedermeier in its Polish guise (“Warsaw Biedermeier”, “noble Biedermeier”), also determined the historical and evolutionary paths of development of Polish piano music of the 19th and early 20th centuries (F. Chopin, Z. Noskovskyi, V. Malyshevskyi, M. Karlovych, M. Zavadskyi, K. Szymanovskyi, L. Rogovskyi, A. Panufnik) and reproduction of the national "noble-Sarmatian" quality in it. Keywords: Sarmatism, Polish culture and music, noble Biedermeier, polonaise, mazurka, kujaviak, krakowiak.

The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative. Keywords: the work of V. Malyshewski, “Kuyavian fantasy” by V. Malyshewski, the Polish-Lithuanian Commonwealth, prometheism, polonaise, kuyaviak, mazurka, Polish dance music.

The article examines the work of a prominent Belgian violinist and composer, E. Ysaÿe, as a representative of Belgian national culture in several different aspects: the incorporation of folklore in his music, his expertise of the Belgian violin school, his life as a follower of C. Franсk, and his role in the wide field of Belgium's artistic and cultural traditions. Folklore is manifested through modal combinations, biphonic and polyphonic layers, the use of parallelisms, in which the author unites anhemitonic and chromatic scales, tone-splitting, etc. E. Ysaye, demonstrates ethnic intensity in ―Village Dance‖, ―Aurora‖ from Sonata No. 5, the Finale from Sonata No. 1 , Mazurkas, Sonatas for 2 solo violins, the symphonic work "Nostalgia", and the opera "Pierre Rudocop". Сomposer is inspired by folk techniques, methods of sound production, types of bowings, rubato, and the use of primitive forms of polyphony- bourdon and ostinato, which are presented in a striking variety by Ysaÿe. Тhe enthusiasm for playing violin folk music, obviously contributed to the creation of a new modern school of violin technique in the twentieth century. In the traditions of Belgian professional music, nationalism manifested itself in the revival of choral music, re-examining the polyphonic techniques of ancient masters (under the influence of C. Franck), in particular, the Franco-Flemish school and Belgian organ school use canonic-imitation, allusions of linear thinking, and medieval mensural notation (2nd movement of Sonata No. 2). The artist also contributed to the growth of Belgian music in the Wallonie culture, of which the famous representative, C. Franck, was born, and his devoted student, E. Ysaÿe, became the author of the only opera in the Wallonie language, "Pierre-Rudokop". Interesting and fruitful are E. Ysaÿe’s connections with the Belgian symbolists M. Metterlink and E. Verharn, evident through the lyrics of the poetic cycle in the ―London‖ trio. In the realm of violin performance - as the direct follower and disciple of the prominent violinist H.Vieuxtemps. Recently discovered violin concertos of the composer, the first of which is dedicated to H.Vieuxtemps, as well as other original works, and grandiose performances, attest to Eugene Ysaÿe’s striking representation of the Belgian national culture.