Abstract
The music of Grażyna Pstrokońska-Nawratil, in its composer’s premises, grows, above all, out of a fascination with the sea. This idea is realized, among others, by the musical piece Le soleil. It refers to three well-known paintings: Claude Monet’s Impression, soleil levant (Andante), Georges Seurat’s Un Dimanche a la Grande Jatte (Presto) and Vincent van Gogh’s Le chemin avec des cypress (Andante). Thus, the question arises regarding the relation between the paintings and the Polish composer’s music: Does this relation fit the category of ekphrasis, adapted by Siglind Bruhn from a theory of literature, to musical studies? To answer this question, the present study undertakes a search for quasi-painting structural features of Pstrokońska-Nawratil’s music in the context of the problem of musical space-time
© 2014 by Walter de Gruyter Berlin/Boston
