z (2020)

Descripción de la editorial: En el Diccionario de Mortadelo y Filemón descubriremos el mundo de los personajes más populares de nuestro cómic, de la A a la Z. íEn el Diccionario de Mortadelo y Filemón, los miles de seguidores de la serie más popular del cómic de nuestro país podrán descubrir todo sobre el universo de los agentes de la T.I.A.! Con cientos de ilustraciones, y de la A a la Z, en este álbum extraordinario analizamos tanto los personajes protagonistas y secundarios de sus aventuras, como los principales álbumes, desde la primera aventura larga, El sulfato atómico, hasta sus últimas andanzas.

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Milda and Nijola, forgotten works by Stanislaw Moniuszko, whose content is based on Lithuanian mythological motifs, are a unique continuation of the cantata style and form in the Polish music. They are extremely successful pieces, and the shortness of their popularity can be probably explained only with the words of the author of the libretto of Milda, Józef Ignacy Kraszewski. If our critics were able to recognise Mr. Moniuszko’s talent, we would not envy Germans songs by Schubert and Mendelssohn Bartholdy (…), better than Mr. Moniuszko only because they were lucky to be born and gain fame abroad. It seems unbelievable that these cantatas have not yet been available on album. In this context, the double- album of the Poznan Philharmonic is an invaluable contribution to restoring Moniuszko to his rightful place in the forefront of 19th-century European composers, not only operatic.

I believe that true poetry, worthy of lifelong dedication and utmost attention, of being impatiently awaited and painfully missed is impossible except when it encounters the world of that imagination which was once called spirit, wrote in his essay The Great Poets Are Gone Adam Zagajewski (himself a great poet). The same is true of music, and most certainly of the song genre, which inhabits the world of the imagination and is by nature fragile and evanescent. Each of the composers represented on this album entered that world of true music at least for a moment, and each did so in his own special way. A common ground is not to be sought, since it would be too great a simplification and far removed from the transient nature of songs. All we can do is point to some individual threads that relate those compositions to one another: their exoticism (the fascination with the Orient in Ravel and Szymanowski), oneiric mood (except perhaps for Obradors), unreal and fabulous character, gentleness, but also a nocturnal kind of uncertainty, and, last but not least, a sense of transience, which is an aspect of human life still unfathomed and therefore seemingly absurd…

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