Gotowa bibliografia na temat „Bortkiewicz”

Background. The last two decades testify to the fact that the music of the Ukrainian composer S. Bortkiewicz (1877–1952) has become popular in various countries not only in Europe, but also around the world, giving birth to a so-called multilingual “Bortkiewicziana”. It would be already enough to mention the works published in German, English, Bulgarian, Dutch, Italian, Portuguese, Polish, Russian, Ukrainian and Japanese. The literature and multi-genre musical heritage left by the composer provides vast opportunities for researchers. However, many creativity aspects of the “last romanticist”, refl ected in various research projects, do not lose their relevance for contemporary musicians. Objectives. The goal of the article is to reveal the image and the stylistic peculiarities the music pieces by S. Bortkiewicz, composed for piano and orchestra. Methods. The study is based on the historical, theoretical and comparative methods of analysis, which allow to bring in critical reviews of contemporaries and researchers about S. Bortkiewicz’s music, reveal the compositional and dramatic features of his piano concerto opus, reveal the individual approach to the inherited tradition. Results. The composer’s legacy includes three Concertos and the Russian Rhapsody, created between 1910s and the fi rst half of the 1930s. The interest in this fi eld of creativity can be explained by the pianistic activity of the composer, who “started” with the Concerto Op. 1 for the favorite music instrument. Despite the fact that the author ultimately abandoned his “fi rst-born” work, judging by the Kharkiv press publications of the fi rst decade of the 20th century, he presented it to the public. Actually, 1st Concerto for piano and orchestra op. 16, B-dur (1912) bares the tradition of a three-part structure with contrasting comparison of movements. Despite the seemingly impressive appearance of the piano part, S. Bortkiewicz summarizes the best achievements of Western European and Russian music, revealing his creative individuality. While maintaining a clear delimitation and contrast between the three movements, he seals the cycle with thematic arches. He also involves the idea of a multi-episodic mood swings, revealing closeness to the poetic type of thinking. The predominance of lyrical expression in S. Bortkiewicz’s Concertos indicates the composer’s orientation to the experience of romantic culture. However, he does not seek to establish the domination of the soloist, his priority position in the concert dialogue. There is an equal parity of both parties, which is beyond the tradition of alternate duplication-development of the same material. S. Bortkiewicz does not tend to use symphonic methods either, handling the contrast technique and as a means of creating dramatic collisions that move the process forward, and as one of the most effective methods of development. The composer uses the entire arsenal of pianistic techniques, except for the passage technique of style brilliant. The principles of a poem found their further implementation in the 3rd Piano Concerto, Op. 32, c-moll, entitled “Per aspera ad astra” (“Through thorns to the stars”), which is a single-cyclic music piece, referring to the works of F. Liszt. The choice of compositional and dramatic solution is determined by the artistic idea. It also brings into existence the intonation, the mode and tonal, and the texture allusions that give birth to vivid imaginative associations and ideas about deep semantic connections that relate composers from different eras to each other. The combination of different style phenomena, based on the commonality of their context, the activation of associative relations, the free application of accumulated experience reveal the composer’s modern thinking, an active search for new approaches to the established tradition, refl ecting the polystylistic tendencies in the music of the 20th century. Russian Rhapsody for piano with orchestra op. 45, a-moll is a concentrated expression of the “folk” line in the works of S. Bortkiewicz. It summarizes the specifi c features of the composer’s large-scale music pieces: the multi-episode structure based on contrasting material, and the purposefulness of the dramatic process, ensuring an active movement to the unfolded “fi nal” climax; the suite structure that appears from the change of the whole expressive means complex on the borders of the sections; and the refrain structure that builds the “frame” of the contrast composite form; the principle of “threading” themes that are different in emotional content, and the gradual consolidation of the main imagery sphere through the extrusion of the previously using thematic ideas. For the Russian rhapsody, using the fresco principles of writing, the larges-cale and brightness of the instrumental palette is typical. These properties bear the imprint of individuality that is common to Bortkiewicz, since the solo piano is considered as one of the equal participants in the orchestra. The 2nd Concerto op. 28 for the left hand (1924), at fi rst glance, stands somewhat apart from similar works by the composer. However, the composer does not limit himself in his choice of pianistic methods. Instead, he uses the whole complex of technical and expressive means: the fi gurative movement, octaves, hidden two-voice theme with the typical “landscape – background” texture, dialog cross-talks, fullness of timbre and register space, a variety of playing techniques that help to reveal the imagery and the emotional content. Conclusions. Large cyclical genres demonstrate the creative approach of S. Bortkiewicz to the established patterns, which can be seen through the specifi c interpretation of the sonata form and the cycle as a whole, in using the technique of variation and the poem principles, the dynamization of the dramatic process and the relative completeness in each section of the form, the mode and harmonic freedom within the construction elements and overall tonal balance. To concretize the imagery world and the artistic idea of a music piece, the composer makes extensive use of genre and style allusions and the quoted material.

Because General Żeligowski’s troops occupied Vilnius in the autumn of 1920 and Poland annexed it two years later, the health-care system that operated in Poland at the time began to be introduced in the city and the region. The official guidelines for health policy in Poland derived from the concept of hygiene proposed by Tomasz Janiszewski, the founder of the health system in the country, which focused on social hygiene. Universities played an advisory role in the Polish health system and were involved in educating the public on hygiene issues. In interwar Vilnius, the most prominent figure in this field was Janina Bortkiewicz-Rodziewiczowa, a researcher and senior assistant in the Department of Hygiene of the Faculty of Medicine at Stephen Bathory University. This article analyses her publications aimed at promoting science. It examines the means by which Bortkiewicz-Rodziewiczowa conveyed specific medical knowledge to a lay audience. It also discusses what topics she emphasised most and what reasons led to her choices, and how this correlated with priorities in medical science and health policy at that time. Finally, it touches on an interesting practical aspect, namely what public education strategies applied at the time can still be applied today.

Este trabajo tiene como objetivo general dirimir que la solución del problema de la transformación consiste en continuar el proceso iterativo iniciado en el libro III de El Capital. En tanto que el objetivo específico consiste en esclarecer que la rigurosa aplicación del método de la economía política de Marx conlleva develar los nexos intermedios que conectan la teoría del valor trabajo con la teoría de los precios de producción. Para este propósito, se confrontan el planteamiento de Marx, la solución de Bortkiewicz-Winternitz y el método iterativo de Morishima.

Este trabajo tiene como objetivo general dirimir que la solución del problema de la transformación consiste en continuar el proceso iterativo iniciado en el libro III de El Capital. En tanto que el objetivo específico consiste en esclarecer que la rigurosa aplicación del método de la economía política de Marx conlleva develar los nexos intermedios que conectan la teoría del valor trabajo con la teoría de los precios de producción. Para este propósito, se confrontan el planteamiento de Marx, la solución de Bortkiewicz-Winternitz y el método iterativo de Morishima.

Based on Ladislaus v. Bortkiewicz' 'classical' approach to the transformation problem it is endeavoured to show that the only proper method to allocate profits is the distribution of the surplus in proportion to the input of labour. The model permits the revelation of the defects of the traditional ('Bortkiewicz-prices') as well as those of modern ('Sraffa-prices') theory concerning prices of production. If equilibrium prices were calculated according to one of these rules, no social division of labour would occur. In contrast to this, the labour theory of value overcomes the difficulties mentioned. The transformation problem turns out to be a pseudo-problem
Auf der Grundlage des "klassischen" Ansatzes zur Behandlung des Transformationsproblems von Ladislaus v. Bortkiewicz wird der Nachweis angestrebt, daß die Verteilung des Überschusses nach Maßgabe des Arbeitseinsatzes die einzig stimmige Methode der Profitaufschlüsselung darstellt. Das Modell erlaubt es, sowohl die Defekte der traditionellen ("Bortkiewicz-Preise") als auch der modernen Produktionspreistheorie ("Sraffa-Preise") ans Licht zu bringen: Würden die Gleichgewichtspreise nach einer dieser Vorschriften gebildet, käme es zu keiner gesellschaftlichen Arbeitsteilung. Im Unterschied dazu meistert die Arbeitswertlehre diese Schwierigkeiten. Das Transformationsproblem entpuppt sich als ein Scheinproblem

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.
Masters Thesis

The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.
Masters Thesis