Wykładnik intertekstualny, interpretant i znaczeniowa gra — klucze do interpretacji muzyki Pawła Szymańskiego

This paper concerns the interpretation of Paweł Szymański’s music. Using the theories by Michael Riffaterre and Ryszard Nycz, the author states that three categories are necessary to explain at least a part of his music. (1) The intertextual exponent is the material which finds its way from the intertext to the new text. In Szymański’s music it has two levels: the first is the structure which constitutes a historical invariant, while the second one is the same structure after transformations. In turn, (2) the interpretant is a set of rules which enable the transformation of the intertextual exponent of the first level into a new fragment of text or into an entire text. The main subject of the research is (3) the complete basic text, where the main point is to grasp the general sense, which takes into consideration the intertextual play and is constructed on the basis of autonom-ous and designative meanings. In order to prove the practical aspect of the above-mentioned method, the author has attached the interpretation of the first movement of A Kaleidoscope for M.C.E. for cello (1989). Thanks to the algorithmic character of the selected composition, it is known that the intertextual exponent of the first level is a “truncated”, single-theme, three-part fugue in D-minor, in the style of J.S. Bach. The interpretant is divided into factors of the following three types: (1) extending the pre-composition structure, (2) transforming the extended structure and (3) ornamental. Taking into consideration all the meanings which manifest themselves on the surface of the composition, the author concludes that the work is a musical kaleidoscope, in which the role of coloured pieces of glass is played by the baroque fugue, while the changing configurations of the fragmented baroque and contemporary meanings play the role of kaleidoscopic effects.