Worldly playing — the wind motif. The soundscape of the Eastern Carpathians in Stanisław Vincenz’s prose
Drawing on R. Murray Schafer’s concept of soundscape, the author of the article analyses Stanisław Vincenz’s cycle Na wysokiej połoninie [High Mountain Pastures]. Vincenz, endowed with an extraordinary sensitivity to sounds, created a colourful picture of the acoustic landscape of the Eastern Carpathians, in which the crucial role is played by sounds generated by the elements: air and water, as well as, to a lesser extent, fire and earth. All of them are integrated and make up a complete, macrocosmic composition. The author of the article carries out a detailed analysis of the role of the wind, both as a soloist and a conductor of sounds generated by the forest. The wind part emerges throughout the cycle, though its distribution is not uniform — it plays the biggest role in volumes 1 (The Truth of Primeval Age) and 4 (A Vinca Wreath). The wind appears asa link between two dimensions: human and heavenly; it serves as a creator, similar to the biblical Divine Wisdom. The sounds of the forest play the main role in the fi rst two volumes, especially in A Fight. In addition to swoosh, which is musical in its nature, we have here many sound warnings protecting the sanctity of the forest. The volume, like the entire cycle, is a book about careful listening. The article is completed by a diagram showing the relations between the various levels of reality and the intermediating role of sounds and music.