Harmonogram

This presentation addresses several fundamental aspects that the speaker considers essential for achieving technical proficiency. It discusses the importance of pulse and rhythmic awareness in developing evenness in finger technique on the flute. The presentation addresses the concept of minimalism — the need to use as little force as possible, avoid unnecessary tension and extraneous movements, and limit finger activity exclusively to changes of fingering.

The discussion also addresses methods for achieving proper instrument balance, which relates to correct posture and hand position. Three elements play a crucial role here: finger movement only at the metacarpophalangeal joint, consistency in the range of movement, and light yet stable pressure on the keys.

The lecture will emphasise the need to balance these components, facilitate smooth fingering transitions, and their impact on synchronisation. Examples of problematic fingering combinations will be presented, along with an analysis of the difficulties they pose.

The lecture addresses the issues of awareness and self-control as the foundations of professional instrumental performance. It addresses the development of these skills in the teaching process in terms of working on breathing, tone colour, and intonation, as well as in the process of acquiring the skills of clear articulation, narration, and organisation of the time of the performed piece.

The presentation will examine approaches for developing the competence of conscious and controlled playing by an already established artist in the context of subordinating technical skills and musical sensitivity to a faithful reading of the musical text and the composer's message in the performed piece.

This lecture is devoted to a multidimensional analysis of the oboist's role in the contemporary music environment. The speaker will focus on the interrelationships between the technical, aesthetic, and psychological demands that shape the artistic and professional experiences of performers.

Performance across three distinct roles - soloist, chamber musician, and orchestral musician - will be presented as complementary yet substantially different areas of performance practice, requiring both versatility and conscious management of one's own potential from the oboist.

The lecture will conclude with a synthetic comparison of the three roles discussed, showing that a versatile oboist should not only perfect their technique and musicality, but also develop self-awareness, communication skills, and strategies for coping with stress.

This lecture focuses on the chamber works for flute by Belgian composer Joseph Jongen, an artist whose rich oeuvre exemplifies the stylistic changes in music in the first half of the twentieth century. Jongen, considered one of the most outstanding Belgian composers after César Franck, combined elements of impressionism, late romanticism, and neoclassicism in his music, creating an individual and recognisable language of artistic expression.

The lecture focuses on an analysis of selected chamber works featuring the flute, which reveal the evolution of the composer's style: from subtle impressionistic moods and colourful harmonies to the clarity of form and rhythmic precision typical of neoclassicism.

The aim of the lecture is to show the stylistic diversity and richness of expression of Jongen's chamber works, as well as to popularise his music among flautists and teachers.

Within twentieth-century Polish music, almost every composer has a work for woodwind quintet in their oeuvre. Perhaps due to the neoclassical trend, which draws on the Baroque and Classical styles, this form, which allows for free travesty or pastiche of the old canons, proved to be an interesting means of artistic expression, eagerly accepted by audiences.

The lecture emphasises that, despite its French origins, this trend took on a different spirit in Poland, characterised by original simplicity with the use of modern means of expression in classical forms.

A significant group of Polish composers, influenced by the French school of Nadia Boulanger, present their search for original sounds in their quintets. At the same time, these works frequently draw upon Polish folk music, particularly highlander folklore.

This presentation offers a new perspective on instrumental selection informed by the sonic characteristics of wind instruments. The lecture presents an analysis of the role of the oboe in various instrumental formations in the context of the changing perception of chamber music for wind instruments over the centuries.

Delving into the chamber music of wind ensembles with the oboe as one of the title instruments, the lecture introduces instrumental combinations that are less common in the literature – especially those whose value lies in their sound qualities, in particular trios for oboe, French horn, and piano, as well as trios for flute, oboe, and clarinet.

The lecture presents some of the most important works for oboe by Slovenian composers. Slovenian oboe literature grew significantly between 1970 and 2020, mostly initiated by three oboists who frequently commissioned and premiered new works: Heinz Holliger, Božo Rogelja, and their former student, Matej Šarc.

Matej Šarc's presentation encompasses a fifty-year period through works by the following composers: Vinko Globokar, Uroš Krek, Ivo Petrić, Primož Ramovš, Nina Šenk, and Matej Bonin.

The lecture presents the life and work of composer Johann Wilhelm Hertel. Hertel was a composer working within the North German school tradition. A pupil of Anton Benda, Karl Heinrich Graun, and Carl Philipp Emanuel Bach, his compositional style reflects the influence of his teachers.

Johann Wilhelm Hertel's works for oboe include, in addition to three partitas for oboe and organ, ten concertos featuring the solo oboe accompanied by string orchestra with basso continuo in the Baroque manner. These mid-eighteenth-century works, of considerable artistic merit, are composed in the galant style.

Wind instruments played a key role in various types of music performed in health resorts. Their sound accompanied primarily the so-called promenade music, performed during the walks of spa guests. The instrumentation of these ensembles likely resembled that of Harmoniemusik (pairs of oboes, bassoons, clarinets, and horns).

This paper aims to present preliminary research on the type, composition, and repertoire of spa ensembles, as well as to highlight the place of music performed in spas in the history of the development of wind ensembles in general.

Throughout history, wind instruments have occupied a significant role across diverse spheres of human activity - from domestic contexts, through the social function of communal music-making, to military, ceremonial, and patriotic applications.

The history of wind bands over the centuries is linked to the development of instruments, playing techniques, the number and composition of ensembles, and the musical repertoire performed on various occasions. The paper will discuss, among other things, the typology, characteristics, and situation of wind orchestras in Poland, with particular emphasis on their role in the life of small and large communities.

The Scout Wind Band in Tczew is an amateur youth ensemble whose origins date back to 1946. The band has been continuously educating new generations of amateur musicians. For almost 80 years, hundreds of young people who could play wind instruments have gone through the band.

This lecture will attempt to present this ensemble which is unique in northern Poland. It will discuss the impact of the Scout Wind Band in Tczew on the social life of the city's residents, as well as on the development of musical culture in the Pomerania region. An important element of the lecture will be the presentation of profiles of former members of the Orchestra who went on to study at music schools and became professional musicians.

The beginning of the eighteenth century was a period when Baroque music reigned supreme. In an era of elaborate ornamentation, new musical forms and genres, and the dominance of polyphony established in the major-minor system, a completely new and previously unknown instrument appeared around 1700 – the clarinet. Its invention is attributed to the Denner family from Nuremberg.

The most interesting works of Baroque clarinet literature are two pieces by Italian composers. Gregorio Sciroli's Sonata in B flat major for clarinet and basso continuo represents the three-part model of the sonata da camera. The second work is Giuseppe Antonio Paganelli's Concerto in B flat major, an excellent example of a solo concerto.

Following a period of relative stagnation in French music after the French Revolution - which nonetheless saw the establishment of the Paris Conservatoire, originally conceived as a military institution - the Third Republic demonstrated considerable commitment to education and the arts. Likely driven by a perceived cultural deficit relative to Germany and its rich musical tradition, the Third Republic instituted an annual commission to create works for the Paris Conservatoire's graduation competitions.

For the clarinet, this initiative yielded seventy-two new works for clarinet and piano composed over a century, spanning the period from 1897 to 1997.

The lecture introduces the issue of sound colouration resulting from the combination of bass clarinet and double bass with marimba in contemporary music, including various strategies for shaping sound and texture, and exploring the use of sonoristic techniques in contemporary compositions for this ensemble.

The main part of the paper offers an analysis of sonoristic aspects in the works of two contemporary composers born in the 1970s: Maciej Jabłoński and Aleksander Kościów. Despite their distinct musical languages and formal solutions, their compositions reveal a deep interest in the tonal potential of the clarinet and marimba.

Contemporary music - particularly works composed in the twenty-first century – provides a space for dynamic dialogue between tradition and modernity, combining diverse aesthetics, compositional techniques, and performance methods. Unlike the visual arts, which exist independently of the artist as permanent artifacts, a musical work requires the presence of a performer, who acts as an intermediary between the composer's intention and the audience.

The lecture examines this expanded understanding of the performer as a co-creator, analysed on the basis of selected works of Polish music for clarinet and percussion. The duo formed by the speaker and clarinetist Barbara Borowicz has become an impulse and inspiration for composers to explore new sound possibilities and cultural references in music for clarinet and percussion.

Clarinet music of the twentieth and twenty-first centuries constitutes a vast and extremely diverse field of artistic exploration, encompassing a wide range of styles, aesthetics, and compositional techniques. Parallel modifications to the construction of the clarinet have contributed to an expansion in its tonal and technical capabilities, which, combined with intensive collaboration between composers and performers, has resulted in the creation of a repertoire that requires innovative interpretative solutions.

This paper is an attempt to show tradition as a fundamental source of inspiration in selected solo and chamber compositions for clarinet written in the twentieth and twenty-first centuries. The aim of this paper is to show that tradition – despite the radical modernity of twentieth- and twenty-first-century clarinet music – remains a key point of reference in the creative process.

A substantial body of research demonstrates the significant influence of art on human brain function. Studies indicate that art assumes a central role in human experience - its various forms contribute to improved physical and mental health, enhanced quality of life, and strengthened social connections.

According to research, playing an instrument is one of the most effective ways to support proper brain function, as it activates key areas of the central nervous system on both sides of the cerebral cortex. This lecture is an attempt to answer the question of how to practice and work with an instrument effectively on a daily basis.

The saxophone, invented in the mid-nineteenth century, took a relatively long time to gain recognition as a fully-fledged solo, orchestral, and chamber music instrument. Its extraordinary dynamic and articulation possibilities and rich timbre make it unique.

David Salleras, a distinguished saxophonist and composer, stands in slight opposition to current compositional trends. The artist not only explores the technical possibilities of the instrument but also explores the possibilities of reproducing diverse historical aesthetics. He presents the saxophone as an instrument capable of transcending all cultural and stylistic boundaries.

The Balkans are a land of contrasts - a meeting point between East and West, where cultures, languages, and musical traditions have intertwined for centuries. From the fiery rhythms of Serbian brass bands to the haunting melodies that echo Ottoman influences, Balkan music is a celebration of movement, emotion, and identity.

Through stories, sound examples, and musical analysis, the presentation explores the saxophone's adaptation to this unique musical environment. In the region's villages and cities, musicians have transformed the instrument's character, blending its warm tone and wide expressive range with the asymmetrical rhythms and modal colours of traditional Balkan music.

The Livre Pour Basson collection is the speaker's original proposal aimed at expanding contemporary teaching materials for bassoon students at the academic level. The etude, traditionally a tool for improving instrumental technique, is presented in its multidimensional function – as a form combining performance practice with the requirements of musical literature from the last one hundred and twenty years.

The author's points of reference are the works of outstanding Polish composers: Witold Lutosławski, Krzysztof Penderecki, and Witold Szalonek, taking into account both inspirations from selected symphonic compositions and general achievements in the field of contemporary performance techniques.

The lecture presents a historical overview of the development of the bassoon, including earlier instruments that influenced its construction, as well as factors that contributed to its characteristic sound, ease of play, and unique character in the world of music.

Next, based on research of musical scores, the lecture discusses the first Baroque solo compositions for bassoon, including those by Polish composers Marcin Gremboszewski, author of Canzonetta for bassoon and cornet, and Andrzej Jarzębski. The work of these two composers forms the central focus of the lecture.

Composed in 1968, Marc Vaubourgoin's Concerto for Bassoon and Orchestra (Concerto pour basson et orchestre) belongs to a group of unjustly forgotten works. It is dedicated to the legendary French bassoonist Maurice Allard, who premiered and recorded it with L'Orchestre Philharmonique de Radio France.

Concerto pour basson et orchestre is an intriguing composition in many respects. It is surprising that, given the relatively sparse literature of the twentieth century for bassoon and large symphony orchestra, it has been overlooked in the history of performance. This presentation therefore serves as a starting point for restoring awareness of a composition of undoubted artistic value among performers, researchers, and listeners.

This lecture introduces a neurodidactic tool called Sweet Lemon Music Pic – Musical Pictograms, designed to activate the sense of sight, which plays an extremely important role in the process of learning musical notation. The effects of using this method in the process of teaching how to play an instrument – observed on the basis of my own teaching experience – include saving lesson time, improving student motivation, strengthening concentration, reducing stage fright, and facilitating the implementation of artistic presentation objectives.

The method of using Musical Pictograms involves working with the teacher to create an additional non-musical scenario containing all the most important comments and associations conveyed during the lesson. In practice, pictograms are placed in the sheet music at key points to trigger the right reactions at moments of particular emotional tension.

The history of instrument development is an ebb and flow of technology and changing priorities or sounds. It reveals ways that instruments and musical technologies fit into larger societal forces of progressivism and conservatism, as well as ways that dominant musical genres and cultural movements suffuse other artistic and cultural spheres.

Despite the rapid development of woodwind instruments in the nineteenth century, performers often purposefully chose to play on instruments that lagged behind the most modern technical advancements available, in particular scorning added keys. This could be seen throughout Europe but was particularly characteristic of Italian players.

Instrument makers and players of woodwind instruments commonly use various types of materials to construct their instruments. This is due to the association of the character of an instrument's sound with the quality (type) of the material used to construct it. Woodwind instruments are made from a wide variety of raw materials: exotic woods, composite materials, and precious metals (silver and gold).

The lecture will present the results of scientific research on whether the material used to build a wind instrument is indeed irrelevant, with a particular focus on the clarinet barrel. The lecture presents three perspectives: that of instrument makers and users, that of science, and that of the author, which provides an opportunity to build a bridge between the other two.

This presentation traces the history of the construction and function of the basset horn - an instrument of the clarinet family - within the context of Wolfgang Amadeus Mozart's oeuvre. It also touches upon the composer's association with Freemasonry and the purported "Masonic" character attributed to the basset horn. The presentation additionally provides information on the history of Mozart's autograph manuscripts, which entered the collection of the Jagiellonian Library in Kraków following the Second World War.

This presentation examines the character and selected compositions of the Viennese Classical period featuring the basset horn, while also addressing works that have been lost. The presentation further explores the current popularity of the basset horn among professional musicians, particularly clarinettists, and contemporary composers.