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Lutosławski's Worlds

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Lutosławski's Worlds Lutosławski’s Worlds Lutosławski’s Worlds edited by Lisa Jakelski and Nicholas Reyland THE BOYDELL PRESS © Contributors 2018 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2018 Te Boydell Press, Woodbridge ISBN 978 1 78327 198 6 Te Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620–2731, USA website: www.boydellandbrewer.com A CIP catalogue record for this book is available from the British Library Te publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate Tis publication is printed on acid-free paper For Steve Contents List of Figures ix List of Tables xi List of Music Examples xiii List of Contributors xv Acknowledgements xix Introduction 1 Lisa Jakelski and Nicholas Reyland PART I: MOURNING, MODERNISM, AND GENIUS 1 Witold Lutosławski’s Muzyka żałobna (1958) and the Construction of Genius 15 Lisa Cooper Vest 2 Personal Loss, Cultural Grief, and Lutosławski’s Music of Mourning 39 Nicholas Reyland 3 Lutosławski’s String Quartet: Mourning, Melancholia, and Modern Subjectivity 71 Michael L. Klein PART II: OTHER LUTOSŁAWSKIS 4 Behind the Curtain of Oblivion: Lutosławski’s Music for Teatre and Radio Plays 89 Wioleta Muras 5 Derwid as Lutosławski’s Patron 119 Danuta Gwizdalanka 6 Witold Lutosławski in Occupied Warsaw 141 Katarzyna Naliwajek-Mazurek viii CONTENTS 7 Lutosławski and Sonoristics 165 Iwona Lindstedt PART III: DOCUMENTS 8 Lutosławski on Contemporary Music: Critical Commentary in Letters and Documents from the Lutosławski Correspondence Collection 185 Stanisław Będkowski 9 Witold Lutosławski’s Artistic Diary: An Unknown Document of the Composer’s Creative Path 211 Zbigniew Skowron 10 MAT. LUDOWE: Te Lutos File 227 Adrian Tomas PART IV: POLITICAL ENGAGEMENT 11 Lutosławski and Stalinism: Contextualizing Artistic and Political Choices around 1950 257 David Tompkins 12 Lutosławski’s Political Refrains 273 Andrea F. Bohlman PART V: LEGACIES 13 Lutosławski, Revived and Remixed 303 Lisa Jakelski 14 Heart and Brain, Tradition and Modernism: Lutosławski and the Continuing Story of Harmony 333 Steven Stucky, Editing and Prologue by Nicholas Reyland Bibliography 359 Index 383 List of Figures 4.1 From the left: E. Wierciński, T. Roszkowska, and Lutosławski against the set of Le Cide. Image courtesy of Polska Agencja Prasowa. 92 4.2 Teatre poster for Fantazy. 95 4.3 Teatre poster for Te Merry Wives of Windsor. 97 6.1 NKW 1940 (2–3 November, no. 258), page 8, second column: ‘Piano duo Lutosławski – Panufnik daily […]. All halls are well heated’. 154 6.2 NKW 1944 (no. 149), informing readers of the duet’s concerts at Lardelli’s Café from 13 May. 159 7.1 Józef Chomiński, diagram of pitch relationships in Witold Lutosławski, Symphony No. 2, Fig. 49. 171 7.2 Summary of sonoristic features in the first movement of Jeux vénitiens. 179 10.1 Sketch folder for Concerto for Orchestra and, later, folk materials. 229 10.2 Sheet 1 from five half sheets devoted to Spanish melodies. 230 10.3 Bóg, chłop i cesarz. 232 10.4 Drewniakówna texts 8–11. 234 10.5 I ty i ja (Laura). 235 10.6 Kościan melodies a–f. 237 10.7 Machów melody titles (Little Suite). 239 10.8 Machów melodies (Little Suite). 240 10.9 Bystroń melody (Silesian Triptych, 3rd movement). 241 10.10 Envelope (Ten Polish Dances). 242 10.11 Titles and Timings (Ten Polish Dances). 243 10.12 Kolberg-Mazowsze K.O. 245 10.13 Mazowsze first sheet – top (Concerto for Orchestra). 248 10.14 Mazowsze second sheet – top (Concerto for Orchestra). 249 10.15 Mazowsze half sheet (Concerto for Orchestra). 251 10.16 Borsk, Doczekało męża złego (Dance Preludes, No. 1) 253 List of Tables 2.1 Analytical overview of Muzyka żałobna. 64 3.1 Lutosławski’s formal analysis of the main movement (String Quartet). 75 5.1 Chronological list of the Derwid songs. 136 7.1 Sonoristics-related terms used by Lutosławski. 172 7.2 Lutosławski’s and Chomiński’s systematics of form-building elements. 176 12.1 Lutosławski’s mentions in Tygodnik Mazowsze. 289 14.1 Structural overview of Lutosławski, Symphony No. 4, Fig. 52–86. 344 14.2 ‘Rules’ for generating the melody at Fig. 64. 347 List of Music Examples 1.1 Witold Lutosławski, Muzyka żałobna, I: Prologue, bb. 1–11. 26 1.2 Witold Lutosławski, Muzyka żałobna, bb. 29–37. 28 2.1 Witold Lutosławski, Lacrimosa, Fig. 3, bb. 5–9. 58 2.2 Witold Lutosławski, Symphony No. 1, II: Poco adagio, bb. 1–12. 59 2.3 Analysis of elements in opening of Muzyka żałobna. 67 3.1 Witold Lutosławski, String Quartet, end of ‘Chorale’ and beginning of ‘Funèbre’. 79 4.1 Witold Lutosławski, Le Cide, Act I, No. 2, bb. 4–8 (trumpets). 93 4.2 Witold Lutosławski, Te Merry Wives of Windsor, No. 1, bb. 1–14 (violins). 98 4.3 Witold Lutosławski, Lorenzaccio, No. 4, bb. 1–8. 100 4.4 Witold Lutosławski, Te Madwoman of Chaillot, No. 7, bb. 1–4. 102 4.5 Witold Lutosławski, Two Ballads by Tolstoy, No. 1. 109 4.6 Witold Lutosławski, Te Cat that Walked by Itself, bb. 1–20 (clarinet) 112 4.7 Witold Lutosławski, Te Wawel Dragon, No. 18, bb. 5–12 (piano), an illustration of a dragon walking. 113 4.8 Witold Lutosławski, Te Women of Syracuse, segment A. 113 4.9 Witold Lutosławski, Te Wenedians’ harp, No. 1, bb. 1–11. 114 4.10 Witold Lutosławski, Te Master of Nonsense, No. 1, bb. 24–32. 115 4.11 Witold Lutosławski, Te Nose, No. 1. 116 4.12 Witold Lutosławski, Mrs. Twardowska, No. 8, bb. 17–29. 117 10.1 Witold Lutosławski, Concerto for Orchestra, I: ‘Intrada’, adjustments to 452 in drafts of short score. 250 14.1 Witold Lutosławski, Grave for cello and piano, bb. 1–15. 340 14.2 Béla Bartók, Mikrokosmos No. 143, ‘Divided Arpeggios’, bb. 1–16. 341 14.3 Béla Bartók, Tree Etudes, No. 2, bb. 1–7. 343 xiv LIST OF MUSIC EXAMPLES 14.4 Witold Lutosławski, Symphony No. 4, Fig. 64 (‘chorale prelude’ texture). 345 14.5 Witold Lutosławski, Symphony No. 4, Fig. 64 (melody). 346 14.6 Witold Lutosławski, Symphony No. 4, Fig. 73–79 (chords). 349 14.7 Witold Lutosławski, Symphony No. 4, Fig. 82. 350 14.8 Jonathan Harvey, Song Offerings, II, bb. 1–8 (harmony). 353 14.9 Jonathan Harvey, Song Offerings, II, bb. 1–2. 353 14.10 Witold Lutosławski, Five Songs, IV: ‘Knights’, b. 169 (harmony). 354 14.11 Magnus Lindberg, Concerto for Piano and Orchestra, bb. 282–289 (harmony). 354 14.12 Magnus Lindberg, Concerto for Piano and Orchestra, bb. 494–500 (harmony). 355 14.13 Witold Lutosławski, Five Songs, IV, b. 193 (harmony); Witold Lutosławski, Paroles tissées, Fig. 54 (harmony). 355 14.14 Magnus Lindberg, Parada, opening (harmony). 356 14.15 Magnus Lindberg, Parada, bb. 222–226 (harmony). 356 Te editors, contributors and publishers are grateful to all the institutions and persons listed for permission to reproduce the materials in which they hold copyright. Every effort has been made to trace the copyright holders; apologies are offered for any omission, and the publishers will be pleased to add any necessary acknowledgement in subsequent editions. List of Contributors Stanisław Będkowski was a teacher and research worker at the Institute of Musicology of the Jagiellonian University in Kraków until 2012. His main research interest is Polish contemporary music. He has published on Lutosławski in Witold Lutosławski Studies, a journal that he also co-edited. Together with Stanisław Hrabia, he prepared Witold Lutosławski: A Bio- Bibliography (2001). Andrea F. Bohlman is Assistant Professor of Music at the University of North Carolina at Chapel Hill. She studies political action and music in late twentieth-century Poland, and has published extensively on the composer Hanns Eisler and popular music in Europe. She recently co-edited (with Peter McMurray) a special issue of Twentieth-Century Music on tape. Danuta Gwizdalanka is a freelance author of biographies (on Witold Lutosławski, Karol Szymanowski, Mieczysław Wajnberg), books on chamber music (for example guides to composers and their works, as well as publications on performance practice and reception in the nineteenth century), and the influence of politics and gender on musicians and their activity. Lisa Jakelski is Associate Professor of Musicology at the Eastman School of Music. Broadly stated, her research investigates the social, cultural, economic, and political dimensions of music making after 1945. Her areas of specialization include music in Poland, new music institutions, and Cold War cultural politics. She is the author of Making New Music in Cold War Poland: Te Warsaw Autumn Festival, 1956–1968 (2017). Michael Klein is Professor of Music Studies at Temple University. He is the author of Music and the Crises of the Modern Subject (2015), Intertextuality in Western Art Music (2005), and co-editor (with Nicholas Reyland) of Music and Narrative since 1900 (2013). His main research interests are in hermeneutics, and music and psychoanalysis. Iwona Lindstedt is Assistant Professor at the University of Warsaw (Institute of Musicology). Her research interests include the history of twentieth- and twenty-first-century music, music theory and analysis. She has published xvi LIST OF CONTRIBUTORS books on serialism and sonoristics in Polish music.
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