Articles
https://orcid.org/0000-0001-7235-739X
Marcel Proust, a connoisseur of music and a sensitive listener, an admirer of Fauré, Franck, and Wagner, created a world of sounds in his works — sounds that can be felt, heard and savored. The musical components blend perfectly with other elements, sometimes creating a background, at other times coming to the forefront. The famous “la petite phrase de la sonate de Vinteuil” becomes a symbol of Swann’s love and one of the leading motifs of the entire novel. It carries a wealth of meanings, intensifies the protagonist’s emotions and evokes the atmosphere of Parisian musical life. At the same time it raises a question: What sonatas were being played in Paris during Proust’s time? What could the writer have heard in the concert hall and in his own salon? What sounds stimulated his imagination and contributed to the image of the ideal “Vinteuil’s sonata?” The article invites readers on a journey following the footsteps of French composers from the turn of the 19th and 20th centuries, whose music inspired Marcel Proust. Readers are encouraged to listen to the violin sonatas indicated in the text. The music of César Franck and his students is characterized by emotionalism, changes in moods, transformation of musical material and the recurrence of earlier themes. It provides a valuable context for reading Proust, inviting immersion in the sound world that surrounded him.
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English
Język Polski
https://doi.org/10.19195/0079-4767.63.3
