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KSIĘGA ANTYCZNA na głos wokalny i fortepian

/AN ANCIENT BOOK for voice and piano/

Jakub Polaczyk (2006)

...dedykujÄ™ moim rodzicom /....dedicated to my parents/

DURATA: 17â€™

Prologos .............................................................................. 7 I. Taniec z Kyane /Dance with Kyane/............................9 II. JÄ™zyk syren (The language of sirens).......................... 14 III. About Troy .................................................................. 18 IV. Alfabet Orfeusza (The Alphabet of Orfeo).............. 36 V. Spartakus ...................................................................... 42 Epilogos. . .......................................................................... 61

„Księga antyczna” to cykl składający się z V numerów wokalych, poprzedzonych prologiem i zakończonych epilogiem. Punkt główny to pieśni : „About Troy” (Z. Herbert) i „Spartakus” (C. K. Norwid), które mogą być traktowane samodzielnie i dopuszcza się wykonanie ich poza cyklem. Pozostałe części stanowią dopełnienie w postaci interludiów. Utwór nawiązuje

do kultury antycznej w

różnych aspektach. Nie posiada realnego programu. Tytuły nie oddają rzeczywistych sytuacji świata antycznego, są jedynie inspiracją i petekstem do stworzenia nowego fikcyjnego biegu wydarzeń opartego na przeszłości. „Księga antyczna” to swoiste przeniesienie do starożytności, ale widzianej z perspektywy czasu i na nowo odczytanej.

/AN ANCIENT BOOk is a vocal cycle, and it consist of five pieces with prologue at the beging and epilogue in the end. The main pieces are :”About Troy” and “Spartakus”. They can be perform as separated songs as individual pieces. Different ones, between them - interludes, can not be perform as a single piece. The cycle refers into ancient world. It is not exacttly – real vision of this world, but rather modern look onto that times from the past. /

Prologos Wskazรณwki wykonawcze: Po zabrzmieniu fla oletu w fortepianie, wokalista zaczyna bardzo g o no recytowa podany tekst (wed ug zanotowanej akcentacji), ktรณry po chwili podejmuje pianista, ale bardzo cicho na zasadzie echa.

Obja nienie symboli dla fortepianu:

- aby uzyska fla olet nacisn$ bezd%wi&cznie podane klawisze przed naci ni&ciem peda u

- ude y pedal i trzyma a do ko'ca cz& ci.

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I. Taniec z Kyane

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- uk ad ust zwi zany z dynamik i barw na danej sylabie - zmiana barwy, przez stopniowe przechodzenie do innej samog oski - piewa razem z oddechem

- kla ni cie r koma

- g o ne uderznie obcasem w ziemi

- wolne i g o ne wydychanie powietrza a do wyga ni cia

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Taniec z Kyane / Dance with Kyane/

Obja nienie symboli dla g!osu wokalnego: /Explanations of the symbols in voice part:/

- uk ad ust zwi!zany z dynamik! i barw! na danej sylabie /the line shows the velocity and colour, amplitude of sounds - it shows the range of open mouths/ - zmiana barwy, przez stopniowe przechodzenie do innej samog oski /changing of color, because of slow and smooth changing of sylab/ - "piewa# razem z oddechem / to sing together with breath/ - kla"ni$cie r$koma / clap your hands/ - g o"ne uderznie obcasem w ziemi$ / strong, acoustic hitting of the floor by legs/ - wolne i g o"ne wydychanie powietrza a% do wyga"ni$cia / slow and long sneezing of sound till the end of air/

-znaki chromatyczne obowi zuj w ca!ym takcie/accidentals refers inside one measure/

I. Taniec z KYANE

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II. Język syren / Language of sirens/ Wyjaśnienie zapisu rytmicznego: a) dla głosu wokalnego: E - wartość bardzo długa (aż do wybrzmienia) g - wartość długa (według upodobania) e - wartości traktowane jak ozdobniki umiarkowane x - wartości traktowane jako ozdobniki szybkie x - wartości traktowane jako bardzo szybkie ozdobniki b) dla fortepianu: Q - wartość traktowana dowolnie długo

- ozdobnik umiarkowany

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- ozdobnik bardzo szybki

Brać pedał na cały odcinek numerowany czasowy.

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O Troi I 0 Trojo Trojo archeolog przez palce twój przesypie popiół a pożar większy od Iliady na siedem strun za mało strun potrzebny chór lamentów morze i łoskot gór kamienny deszcz - jak wyprowadzić z ruin ludzi jak wyprowadzić z wierszy chór myśli poeta doskonały jak soli słup dostojnie niemy - Pieśń ujdzie cało Uszła cało płomiennym skrzydłem w czyste niebo Nad ruinami wschodzi księżyc 0 Trojo Trojo Milczy miasto Poeta walczy z własnym cieniem Poeta krzyczy jak ptak w pustce Księżyc powtarza swój krajobraz łagodny metal w zgorzelisku 2 Szli wąwozami byłych ulic jak przez czerwone morze zgliszcz a wiatr podnosił pył czerwony wiernie malował zachód miasta Szli wąwozami byłych ulic chuchali na czczo w zmarzły świt mówili: przejdą długie lata zanim tu stanie pierwszy dom szli wąwozami byłych ulic myśleli że odnajdą ślad na harmonijce gra kaleka o wierzb warkoczach o dziewczynie poeta milczy pada deszcz Z. Herbert

About Troy 1 Troy O Troy an archeologist will sift your ashes through his fingers yet a fire occurred greater than that of the Iliad for seven strings-too few strings one needs a chorus a sea of laments and thunder of mountains rain of stone --how to lead people away from the ruins how to lead the chorus from poems-thinks the faultless poet respectably mute as a pillar of salt --The song will escape unharmed It escaped with flaming wing into a pure sky The moon rises over the ruins Troy O Troy The city is silent The poet struggles with his own shadow The poet cries like a bird in the void The moon repeats its landscape gentle metal in smoldering ash 2 They walked along ravines of former streets as if on a red sea of cinders and wind lifted the red dust faithfully painted the sunset of the city They walked along ravines of former streets they breathed on the frozen dawn in vain they said: long years will pass before the first house stands here they walked along ravines of former streets they thought they would find some traces a cripple plays on a harmonica about the braids of a willow about a girl the poet is silent rain falls Zbigniew Herbert (1924 â€“ 1998)

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IV. Alfabet Orfeusza / The Alphabet of Orfeo/ Obja nienie symboli w g!osie wokalnym:

- glissando caloskalowe od najwy szego do najwy szego d!wi"ku

- gwizda# zachowuj$c podane rejestry - zapis wzgl"dny, bezwysoko%ciowy - razem z wydechem

- %piew z wydechem i glissando w dó& skali - tremolo szybkie

- tremolo bardzo szybkie - fala obrazuj$ca uk&ad ust wp&ywaj$cy na dynamik" - wibrato „klasyczne” - wibrato #wier#tonowe

- najwy szy d!wi"k dla ka dego g&osu inny

Obja nienie symboli w fortepianie:

Parftia fortepianu zapisana jest na dwulini obrazuj$cej naturalny podzia& strun fortepianu na trzy szeregi. W ka dym instrumencie granica mi"dzy nimi jest troch" inna. Zapis jest bezwysoko%ciowy, nale y zachowa# jednak podane rejestry i zarys melodyczny . ca g2 (pocz$tek rejestru najwy szego)

ca B (pocz$tek %redniego rejestru)

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- wolne glissando wznosz$ce - pobudzenie do drgania struny (lub strun gdy wielod!wi"k) paznokciem - pobudza# strun" do drgania d&oni$ ude aj$c opuszkiem palca spr" y%cie w stun"

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* pianista gra prawie caly utwor na strunach fortepianu z wylaczeniem miejsc o okreslonej wysokosci ** w odcinku tym wartosci sa rowne *** po nacisnieciu polozyc ciezarek aby utrzymywal wcisniete D1 az do znaku

ca 7''

(quasi arpa)

Tempo di valse

« «

E - TA

rapido

ca 6''

q ca 10''

T(H)

ca 1''

[[[[[[[[[ : : ¹ +-1/4

ca 15''

JO - TA

« ¹

ca 5''

* tylko e jest okreslone pozostale wysoksci podane w przyblizeniu

ca 1''

1 1

PSI - LON

ca 3''

Tempo di valse

ca 6''

KAP

N t C

KAP PA

N t 3

JJJ

rapido

JJJJ

furioso

N tt

X ¥

8 Ð

ca 6''

ca 12''

1 1 1 1 © © © © Ð [[[[ © 3

MI cantabile

staccato

ca 4''

(quasi arpa)

$ -

SI, SI, SI, SI, SI, SI,SI, SI

O - MI -KRON

Á ÁÁ Á Á ÁÁÁ ÁÁ Á Á Á Á q

ca 6''

* tutaj powoli sciagac ciezarek ** znow polozyc ciezarek

tranquillo

ca 6''

ca 1''

ca 3''

ca 10''

$ R

G -

GMA

ca 8'' ca 4''

accel. H(I) - I

PSI PSI

****

F(I)

IP - SI - LON

TAU

32 ***

imitando marcato

ca 0,5''

XX ¥

*** PS

rit.

XX ¥

ÐÐ Ð

R EH] WUHPROR QD GLPXQHGR W\ONR JPD VIRU]DWR L QD VDP\P NRxFX GLPLQXHQGD WXWDM SRZROL ]DVWHSRZDF FLH]DUHN REFLD]HQLHP SDOFRZ\P L WDN MX] JUDF GR NRQFD XWZRUX

XX X

ca 15''

espressivo O -

G @©

G ©

K© K© © @© K© G @©

K© © @© © © @© -

(q)

ca 20''

ca 2'

Spartakus (Ubi depuit orbis...)

1 Za drugą, trzecią skonów metą Gladiator rękę podniósł swą, To - nie to, krzycząc, SIŁA, nie to, To nie to MĄDROŚĆ, co dziś zwą... Sam Jowisz mi nie groźny więcej, Minerwa sama z siebie drwi: Wam - widzów dwakroć sto tysięcy Co dzień już trzeba łez i krwi... Przyszliście drząc i wątpiąc razem, Gdzie dusza wietrzyć i gdzie moc?... A my wam - księgą i obrazem, A głos nasz ku wam - pocisk z proc. - Przyszliście drząc i wątpiąc razem, Cała już światłość wasza - NOC! 2 Za drugą, trzecią skonów metą Gladiator rękę podniósł swą: To - nie to, krzycząc, MIŁOŚĆ, nie to, To nie to PRZYJAŹŃ, co dziś zwą... Z Kastorem Polluks, druhy dawne, W całusach sobie wierność klną; A Wenus włosy ma przyprawne, Rumieńce z potem w maść jej lgną... - Siedliście, głazy, w głazów kole Aż mchu porośnie na was sierć: I duszą waszą - nasze-bole, I ciałem waszym - naszych-ćwierć; - Siedliście, głazy, w głazów kole, Całe już życie wasze: śmierć! Cypian Kamil Norwid (1821 1883)

V. Spartakus

9RFH

Éca u con moto

3IWH

marcatissimo

piu

2 5

K K 6

piu

subito

* znaki chromatyczne obowiazuja w calym takcie

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(black keys)

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irregular accents

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Poco Agitato

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C 5 smierc

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ĂŠ 5 5 Â?O piu

Â”

5 5 ÂĽ *) bardzo mocno zaakcentowac szybko oktawe po czym opuscic klawisz i q* natychmiast wziasc prawy pedal i zlapac odskakujacy klawisz oktaw tak by lapal cale spektrum alikwotowe. na pedale i wytrzymywac az do wybrzmienia. ca 4' 30''

Einai hoion Zuxis egraphen, all beltion: to gar paradeigma dei huperechein.

Arystoteles (384 Â– 322 p.n.e) Â– Ars poetica (gr.), 1461 b, 14

Epilogos.

con dizione

Voce f favella

& Pfte

EINAI HOION ZEUXIS EGRAPHEN, ALL BELTION: TO GAR PARADEIGMA DEI HUPERECHEIN.

ww * ww

? w w w °

- diluendo

poco a poco senza pedale al fine

* koniecznie trzymac az do calkowitego wybrzmienia 61