DOCSLIB.ORG

The Perilous Path to the First Warsaw Autumn Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Perilous Path to the First Warsaw Autumn Festival From Restrictions to Freedom The Perilous Path to the First Warsaw Autumn Festival CINDY BYLANDER Independent Scholar, Fort Collins, Colorado USA Email: [email protected] From Restrictions to Freedom The Perilous Path to the First Warsaw Autumn Festival Musicology Today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0004 ABSTRACT worthwhile to look again at the context in which they were operating, for the birth of this event did not occur The genesis of the Warsaw Autumn Festival was fraught with both in a vacuum nor did its relative success resolve all the potential and real complications. Musical life in Poland at the end of the first postwar decade was in a state of flux, if not turmoil, shortcomings apparent in Poland’s musical life. as ideological disagreements and material complications contributed to an atmosphere of dismay and distrust among musicians and authorities. This paper provides insight into the context in which the Festival’s SOCIALIST REALISM UNDER ATTACK organizers were operating, particularly the shortcomings of musical life in mid-decade that threatened to derail the Festival before it even began. The death of Stalin in March 1953 is often considered a defining moment in the evolution of socialist realist INTRODUCTION ideology as practiced in the Polish arts. However, the prevailing strictures of the socialist realist aesthetic in music were not relaxed uniformly or without The generally accepted history of the genesis of the consternation on the part of its advocates. Although Warsaw Autumn Festival acknowledges that an officially Włodzimierz Sokorski, the Minister of Culture and Arts, approved cultural thaw releasing artists from the harshest had alluded in late 1953 to past mistakes and, a few restrictions of socialist realism was underway in Poland in months later, to greater possibilities for creative freedom, the mid-1950s and that, simultaneously, Polish composers albeit still within the context of accessible works,2 wished to reunite with the contemporary musical world, such remarks were not interpreted by composers as an from which they had been separated during the Second enthusiastic endorsement of unlimited opportunities World War and again since approximately 1949. The in compositional style. Moreover, in the Composers government, for its part, was interested in publicizing the Union’s plans for 1955, ideological courses on Marxist achievements of Polish composers through a comparison aesthetics were still scheduled, indicating that a complete of contemporary music from both sides of the Iron break with previous constraints was either not foreseen Curtain. The experience gained by the Polish Composers’ or was considered a dubious target, even though the Union (hereafter ZKP) in organizing a Festival of Polish Warsaw Autumn Festival was also included in the union’s Music in 1955 was also thought to be of vital importance intended activities.3 as it faced the more challenging task of organizing an Nevertheless, composers had already begun to shift the international festival little over a year later.1 narrative of compositional evaluation from the socialist Yet the story is not that simple. Musical life in Poland realist rhetoric of formalism vs. realism to one of more at the end of the first postwar decade was in a state of legitimate artistic quality. At ZKP’s Executive Board flux, if not turmoil. Deficiencies in music education, meeting in December 1952, some composers, including dissatisfaction with the country’s orchestras and its Tadeusz Szeligowski and Witold Lutosławski, alluded to monopolistic radio and music publishing institutions, the low quality of many new compositions. At a similar unproductive attempts to publicize Polish music in meeting in 1953, derogatory comments related to other countries, insufficient knowledge about recent branding compositions as formalist, not normally voiced works written abroad, and struggles to translate shifting in such an official setting, were made during discussions ideological views to concrete actions all contributed to on national traditions in contemporary music.4 an atmosphere of distrust, frustration, and, in some cases, animosity among those who would be involved in either 2 The Polish Composers’ Union (hereafter ZKP) Akt 12/22, preparing or participating in the first Warsaw Autumn Protokół surowy obrad rozszerzonego Zarządu Głównego Festival. Although corrections to some of these issues Związku Kompozytorów Polskich – odbytego w Warszawie w were being considered in mid-decade, their prospects for dniach 16 i 17 grudnia 1953 [The Unamended Minutes of the success were debatable. While the Festival’s organizers Meeting of the Polish Composers’ Union’s Extended Managing th th worked as calmly and efficiently as possible, it is perhaps Board, held in Warsaw on 16 -17 December 1953]; ZKP Akt 12/7, VII Walny Zjazd (24, 25, 26.IV.1954 Wwa) [7th PCU General Assembly, 24th-26th April 1954, Warsaw], pp. 63-68. 1 See e.g. C. Bylander, (1989). The Warsaw Autumn ZKP Akt 12/22, Plan pracy Związku Kompozytorów Polskich International Festival of Contemporary Music 1956-1961: Its 3 na 1955 rok [The Polish Composers’ Union’s Work Schedule Goals, Structures, Programs and People. Ph.D. dissertation, for 1955]. The Ohio State University, pp. 89-93; L. Jakelski, (2017). Making Music in Cold War Poland. The Warsaw Autumn Festival 1956- 4 Ibid., Stenogram z zebrania rozszerzonego plenum Zarządu 1968. Berkeley: University of California Press, pp. 18-21. Głównego Z.K.P. w Poznaniu 11 grudnia 1952r.; and Porządek 92 From Restrictions to Freedom The Perilous Path to the First Warsaw Autumn Festival By 1954, some ZKP members felt even more a year while waiting for “further loosening of the screw,” comfortable expressing critical opinions, referring not or a more favorable atmosphere in which to release the only to the negative effects of socialist realism in music, work. At the same time, she asked the Party’s Cultural but also targeting colleagues whose opinions differed Department for “instructions” on how to behave at the from their own. Indeed, a combative atmosphere reigned upcoming Composers Union’s Executive Board meeting.7 at that year’s general conference, where a remarkable Lissa was, we should point out, one of the few ZKP onslaught of criticism was directed at musicologists, musicologists to attend its general conferences. As such, particularly the union’s most active proponent of socialist in 1955 she was forced to defend herself and her absent realism, Zofia Lissa. In rather scathing terms, Zbigniew colleagues against another diatribe, this time Kazimierz Turski castigated her alleged role in advising the Ministry Serocki’s strident critique of musicologists for, among other of Culture and Art (MKiS), through which she wielded things, their tendency to denounce composers’ “lack of some degree of authority in evaluating composers and ideological zeal” rather than promote contemporary Polish their works, while Piotr Perkowski described her as a compositions.8 Given Lissa’s esteemed stature prior to the dictator.5 Although others admonished Turski for his war, her acquaintances initially may have been reluctant lack of decorum, this willingness to contest the status to be overtly critical of her actions. However, as one of quo in an attempt to re-establish the center of power in the most vocal proponents of socialist realism in music ZKP away from those who supported socialist realism to composition, she had exposed herself to such retribution. those desiring to push more urgently for compositional At the same time, we should temper claims of harshness freedom and its corollary endeavors (for ex., contact on Lissa’s part by pointing to her cordial relations with with the West), was to be further explored over the next many of her colleagues as well as her abiding interests in few years, until this new approach became the union’s improving musical literacy in Poland, shown through her modus operandi. Such efforts played an integral role in work with radio, publishers, and education. According to establishing the Warsaw Autumn Festival, whose initial Mieczysław Tomaszewski, she also appreciated the music approval was granted this same year, 1954. of Schoenberg and Stravinsky, although she refrained The accusations directed at Lissa were not completely from admitting this publicly during this time, choosing exaggerated, for evidence exists that she was indeed instead to observe the socialist-realist line.9 providing reports to MKiS and, more frequently, to the Members of the Polish United Workers’ Party (PZPR) Cultural Department of the Party’s Central Committee who also belonged to ZKP (of which there were twelve from as early as 1950 until at least the end of 1955. These in 1954, including Lissa) also met separately with the were not personal letters between colleagues and friends, but summaries of her impressions of meetings with composers 7 Lissa claimed that other ZKP members and cultural officials sent to governmental agencies. For example, in her January (including Roman Jasiński, Stefania Łobaczewska, and Józef 1951 communiqué about a Young Composers meeting, she Chomiński) supported her allegation concerning Lutosławski’s blamed the older generations for their lack of commitment Symphony. Lutosławski stated that he worked on the Concerto to Marxist aesthetics and provided brief summaries of each for Orchestra from 1950 to August 1954; it was premiered in Warsaw 26 November 1954 and presented during the 1955 young composer’s ideological leaning and compositional Festival of Polish Music. Lissa had also published an analysis 6 promise. In November 1955, she described a “gloomy of the piece in Muzyka (1955), nos. 3-4, which indicates she picture” in which composers were returning to formalism had probably seen at least a substantial part of the score. Given in their compositions. She also falsely accused Lutosławski her usual care with such details, Lissa’s claim in November is of keeping his Concerto for Orchestra “in the drawer” for thus startling and apparently unjustified. W. Lutosławski, (2008). Zapiski, Z.
Load more

Recommended publications
  • RĘKOPISY MUZYCZNE Sach Wielu Innych Polskich Kompozytorów, Jest Dokonaniem O Dużym Zna- Czeniu Dla Polskiej Kultury Muzycznej
    REKOPISY_OKLADKA_DRUK_ok copy:Layout 1 5/22/15 3:59 PM Page 1 RĘKOPISY MUZYCZNE Unikatowy zbiór autografów muzycznych polskich kompozytorów XX i XXI wieku, znajdujący się w Archiwum Kompozytorów Polskich Biblio- ELŻBIETA JASIŃSKA-JĘDROSZ teki Uniwersyteckiej w Warszawie, jest dla polskich muzykologów, wy- konawców i bibliotekarzy muzycznych ogromnym skarbem, którego znaczenie trudno przecenić. Utrwalenie informacji o spuściznach wielkich twórców, a także o rękopi- RĘKOPISY MUZYCZNE sach wielu innych polskich kompozytorów, jest dokonaniem o dużym zna- czeniu dla polskiej kultury muzycznej. W ZBIORACH ARCHIWUM Elżbieta Jasińska-Jędrosz, muzykolog-archiwista, znana w środowisku KOMPOZYTORÓW POLSKICH muzycznym m.in. z opracowania dwóch szczegółowych katalogów: Rękopisy utworów muzycznych Karola Szymanowskiego (Warszawa 1983) BIBLIOTEKI UNIWERSYTECKIEJ oraz Rękopisy kompozytorów Młodej Polski (Warszawa 1997) podjęła się W WARSZAWIE pracochłonnego i odpowiedzialnego zadania, przygotowując katalog obej- mujący wszystkie rękopisy muzyczne znajdujące się w AKP. Pierwszy tom tego Katalogu liczy 2270 pozycji i obejmuje mniej więcej KATALOG jedną trzecią zasobów całego Archiwum w zakresie rękopisów muzycz- TOM I nych. Autorka wypracowała specyficzną dla zbiorów BUW metodę ich opracowania opartą na Międzynarodowych przepisach katalogowania mu- zykaliów, dostosowując ją do potrzeb, jakie narzuca konkretny materiał. Katalog ten będzie niezwykle pomocny zarówno dla muzykologów zaj- mujących się polską twórczością kompozytorską XX i XXI wieku, edyto-
    [Show full text]
  • Graå»Yna Bacewicz and Her Violin Compositions
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Gra#yna Bacewicz and Her Violin Compositions: From a Perspective of Music Performance Hui-Yun (Yi-Chen) Chung Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC GRAŻYNA BACEWICZ AND HER VIOLIN COMPOSITIONS- FROM A PERSPECTIVE OF MUSIC PERFORMANCE By HUI-YUN (YI-CHEN) CHUNG A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2011 Hui‐Yun Chung defended this treatise on November 3, 2011. The members of the supervisory committee were: Eliot Chapo Professor Directing Treatise James Mathes University Representative Melanie Punter Committee Member The Graduate School has verified and approved the above‐named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my beloved family iii ACKNOWLEDGMENTS I would like to express my deep gratitude and thanks to Professor Eliot Chapo for his support and guidance in the completion of my treatise. I also thank my committee members, Dr. James Mathes and Professor Melanie Punter, for their time, support and collective wisdom throughout this process. I would like to give special thanks to my previous violin teacher, Andrzej Grabiec, for his encouragement and inspiration. I wish to acknowledge my great debt to Dr. John Ho and Lucy Ho, whose kindly support plays a crucial role in my graduate study. I am grateful to Shih‐Ni Sun and Ming‐Shiow Huang for their warm‐hearted help.
    [Show full text]
  • Stanislaw Brzozowski and the Migration of Ideas
    Jens Herlth, Edward M. Świderski (eds.) Stanisław Brzozowski and the Migration of Ideas Lettre Jens Herlth, Edward M. Świderski (eds.) with assistance by Dorota Kozicka Stanisław Brzozowski and the Migration of Ideas Transnational Perspectives on the Intellectual Field in Twentieth-Century Poland and Beyond This volume is one of the outcomes of the research project »Standing in the Light of His Thought: Stanisław Brzozowski and Polish Intellectual Life in the 20th and 21st Centuries« funded by the Swiss National Science Foundation (project no. 146687). The publication of this book was made possible thanks to the generous support of the »Institut Littéraire Kultura«. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Na- tionalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommer- cial-NoDerivatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial purposes, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for com- mercial use, further permission is required and can be obtained by contacting [email protected] Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material.
    [Show full text]
  • Tadeusz Baird. the Composer, His Work, and Its Reception
    Tadeusz Baird. The Composer, His Work, and Its Reception Eastern European Studies in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Adrian Thomas (Cardiff) László Vikárius (Budapest) Volume 17 Eastern European Studies Barbara Literska in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Tadeusz Baird. The Composer, His Adrian Thomas (Cardiff) László Vikárius (Budapest) Work, and Its Reception Volume 17 Translated by John Comber Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliograe; detailed bibliographic data is available online at http://dnb.d-nb.de. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. The Publication is funded by Ministry of Science and Higher Education of the Re- public of Poland as a part of the National Programme for the Development of the Humanities in 2017-2018, project number 21H 16 0024 84. This publication re- ects the views only of the author, and the Ministry cannot be held responsible for any use which may be made of the information contained therein. Printed by CPI books GmbH, Leck ISSN 2193-8342 ISBN 978-3-631-80284-7 (Print) E-ISBN 978-3-631-80711-8 (E-PDF) E-ISBN 978-3-631-80712-5 (EPUB) E-ISBN 978-3-631-80713-2 (MOBI) DOI 10.3726/b16420 Open Access: This work is licensed under a Creative Commons Attribution Non Commercial No Derivatives 4.0 unported license.
    [Show full text]
  • In Search of Harmony: the Works by Andrzej Panufnik
    MUSIC HistorY IN SEARCH OF HARMONY: THE WORKS BY ANDRZEJ PANUFNIK O.V. Sobakina Annotation. Andrzej Panufnik belongs to those composers, who were able to create their own musical language and technique of composing. The life way of prominent composer in postwar Poland and well-known conductor in Europe was dramatic: then he emigrated in England in 1954, his music turned out to be performed in the countries of the Eastern Europe. That’s why in Russia during decennials till now he didn’t share the fame, which the other Polish composers received. After some break in composing he realized in his works ideas, which were the most exiting for him and revealing the interaction between musical mentality, geometric schemes and nature’s phenomena. The features of Panufnik’s works consist in consequent development of traditions of the European music; using such traditional genres as symphony, concerto, overture, he interpreted them anew and created the new forms of musical structures. Differing in their individual construction of the forms, Panufnik’s symphonies are penetrated through really symphonic dramaturgy that emphasizes their attribution to classical symphonic traditions. In spite of pure originality and bold- ness of experiments, the works by Panufnik never lose the relationship with the Polish traditions and culture, which are revealed in the subjects of his music and also in the accordance of abstract perfection with the richness of emotional content. All this give us evidences of rare composer» creative talent and explains the incontestable interest to his music. In the Russian musicology the works by Panufnik had no analyzed with the exception of some articles of the author.
    [Show full text]
  • Brr, Bereza. Polish Literature Towards the Confinement Centre in Bereza Kartuska
    ACTA UNIVERSITATIS LODZIENSIS Folia Litteraria Polonica 4(55) 2019 http://dx.doi.org/10.18778/1505-9057.55.13 Arkadiusz Morawiec* https://orcid.org/0000-0001-6424-1194 Brr, Bereza. Polish literature towards the Confinement Centre in Bereza Kartuska. 1934–1939 … the camp has a beautiful traditional Polish name: “Seclusion spot” (almost like: “Temple of Meditation”).1 M.O., i.e. miejsce odosobnienia (confinement centre), generally termed by people as the slaughter house of citizens2. Emulating the one in Dachau, Poles built their own, in Bereza3. The Confinement Centre in Bereza Kartuska On 18 June 1934 Maria Dąbrowska wrote in her diary: “Brr – Now we have isola- tion camps – Soon, you won’t be able to speak, write, or live!”4 That was her reac- tion to a Resolution by Ignacy Mościcki, President of the Republic of Poland, of 17 June 1934 on persons threatening the security, peace, and public order. The first of six articles of the document, which was enforced as an act of law, stated: * Associate Professor; University of Lodz, Chair of Polish Literature of the 20th and 21st Century, ul. Pomorska 171 /173, 90–236 Łódź, [email protected]. 1 M. Niedziałkowski, “‘Kurs na lewo’ i obozy izolacyjne”, Robotnik 1934, issue 251, p. 1. [Transla- tor’s note: the term “miejsce odosobnienia” is ambiguous in Polish literally meaning “a place of seclusion”. However, in English such places are referred to as “confinement centres”, I decided to use this, still somewhat euphemistic, term as a translation of “miejsce odosbnienia”] [Unless specified otherwise, English versions translated from Polish] 2 M.
    [Show full text]
  • The Polish Pianist Artur Hermelin
    M u z y k a l i a XIII · Judaica 4 The Polish Pianist Artur Hermelin H a n n a P a l m o n Introduction For many years, I knew about my late relative - the pianist Artur Hermelin - only this: that he grew up in Lwow (called Lemberg when he was born there in 1901); that he was a child prodigy; and that as a piano soloist he toured Europe with orchestras and gave recitals - some of which were broadcasted by the Polish Radio. I also knew that Artur perished in the Holocaust. When my father told me that, his eyes revealed how much he was still missing his cousin Artur, who had been one year older than him; that was 30 years after Artur’s tragic death, when I was still a child; it was far beyond my grasp, and it still is. We had an old small photo of Artur as a very young boy, hugging a big accordion and giving the camera a warm smile. During my recent attempts to collect details about Artur’s 41 years of life – I’ve read that Artur was among the musicians who were forced to perform music for the Nazis in the ghetto of Lwow and later in the labor camp; hundreds of thousands of Jews - Artur and his relatives among them - were murdered at the ghetto of Lwow and at its notorious Janowska camp, or transported from the ghetto or the camp to concentration camps, in the years 1941-1943. May the memory of the victims be blessed.
    [Show full text]
  • The Shepherd School Preparatory Program
    THE SHEPHERD SCHOOL PREPARATORY PROGRAM CONCERT CV/ Saturday, May 6, 2006 2:00 p.m. Lillian H. Duncan Recital Hall 1975 -2005 Ce l e b rating ~I/} Years THE SHEPHERD SCHOOL ~SIC RICE UNIVERSITY / PROGRAM Chorus Georg Friedrich Handel from Judas Maccabaeus (1685-1759) Sophia Lauer, cello (student of Sarah Wilson) Youngha Guk, piano May Song Folksong Lightly Row Folksong Mila Ferramosca, violin (student of Sylvia Ouellette) Stephanie Young, piano Minuet Luigi Boccherini (1743-1805) Joshua Hu , violin (student of Sylvia Ouellette) Stephanie Young, piano Concerto in B Minor Oscar Rieding (first movement) (1840-1918) / Alexander McKenzie, violin (student of Jennifer Salmon) Jennifer Salmon, piano Concerto in A Minor, Op. 3 No. 6 Antonio Vivaldi I. Allegro (1678-1741) Christopher Wong, violin (student of Sylvia Ouellette) Stephanie Young, piano I Concerto in G, Op. 24 Oscar Rieding I. Allegro moderato Jeff Feng, violin (student of Sylvia Ouellette) Stephanie Young, piano Concerto No.] in A Minor Jean-Baptiste Accolaji (1845-1910) / Seamus Dewsnap, violin (student of Sylvia Ouellette) Stephanie Young, piano Sky Blue Robert Vandall (b.1944) Kathy Merkl, piano (student of Virginia Nance) On with the Show Traditional La Candeur, Op. I 00 Friedrich Burgmiiller (25 Easy and Progressive Studies) (1806-1874) Katharine Patrick, piano (student of Young ha Guk) Boogie on Broadway Nancy and Randall Faber Scarf Dance Mauro Giuliani (1781-1828) Forest Drums Heinrich Faber (1520-1552) Camille Williamson, piano (student of Robert Moeling) Spinning Song Albert Ellmenreich (1816-1905) Maghana Golla, piano (student of Robert Moeling) Allegro in F Major Franz Joseph Haydn (1732-1809) Waltz, Op.
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020)
    Repositorium für die Medienwissenschaft Hans Jürgen Wulff; Ludger Kaczmarek Bibliographie der Filmmusik: Ergänzungen II (2014– 2020) 2020 https://doi.org/10.25969/mediarep/14981 Veröffentlichungsversion / published version Buch / book Empfohlene Zitierung / Suggested Citation: Wulff, Hans Jürgen; Kaczmarek, Ludger: Bibliographie der Filmmusik: Ergänzungen II (2014–2020). Westerkappeln: DerWulff.de 2020 (Medienwissenschaft: Berichte und Papiere 197). DOI: https://doi.org/10.25969/mediarep/14981. Erstmalig hier erschienen / Initial publication here: http://berichte.derwulff.de/0197_20.pdf Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist.
    [Show full text]
  • Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1
    Polish Musicians in the Concert Life of Interwar Paris: Short Press Overview and Extensive Bibliographic Guide1 Renata Suchowiejko ( Jagiellonian University, Kraków) [email protected] The 20-year interwar period was a crucial time for Polish music. After Poland regained independence in 1918, the development of Polish musical culture was supported by government institutions. Infrastructure serving the concert life and the education system considerably improved along with the development of mass media and printing industries. International co-operation also got reinvigorated. New societies, associations and institutions were established to promote Polish culture abroad. And the mobility of musicians considerably increased. At that time the preferred destination of the artists’ rush was Paris. The journeys were taken mostly by young musicians in their twenties or thirties. Amongst them were instrumentalists, singers and directors who wished to improve their performance skills and to try their skills before the public of concert halls. Composers wanted to taste the musical climate of the metropolis and to learn the latest trends in music of that time. They strongly believed that 1. This paper has been prepared within the framework of the research programme Presence of Polish Music and Musicians in the Artistic Life of Interwar Paris, supported from the means of the National Science Centre, Poland, OPUS programme, under contract No. UMO-2016/23/B/ HS2/00895. The final effect of the project is the publication of a study Muzyczny Paryż à la polonaise w okresie międzywojennym. Artyści – Wydarzenia – Konteksty [Musical Paris à la polonaise In the Interwar Period: Artists – Events – Contexts] by Renata Suchowiejko, Kraków, Księgarnia Akademicka, 2020.
    [Show full text]
  • Antoni Szałowski
    1 Introduction 1.1. Defining the subject “It is the duty of Polish musicologists to know more or less as much about us as they do about the composers who live in Poland”1. These words come from Roman Palester’s letter to the organisers of a sym­ posium devoted to the works of Polish émigré composers which took place in Warsaw in 1988, a project initiated by the Musicology Section of the Polish Composers’ Union. The conference was an exceptional event, and the first one of its kind. The papers to be presented there were to combine critical and aesthetic interpretation with artistic evaluation of the works, and some of them were to be devoted to Antoni Szalowski2. Unfortunately, the achievements of Szalowski, one of the main represen­ tatives of Polish Neoclassicism, were, after all, omitted from the con­ ference programme. Roman Palester described this as “something of a scandal”3. Referring to the title of the symposium, “Music wrongly 1 R. Palester, Prawda źle obecna [Truth Wrongly Present] [letter sent in December 1988], in: Muzyka île obecna [Music Wrongly Present], ed. K. Tarnawska-Kaczo- rowska, I, Warszawa 1989, p. 28. 2 According to Krystyna Tarnawska-Kaczorowska the paper on Szałowski was to have been written by Adam Walaciński. She also mentions Wladyslaw Malinowski, who was planning a presentation on the influence of the émigré community on the evolution of creative paths, using the music of Palester, Panufnik, Spisak and Szalow­ ski as examples. Cf. K. Tarnawska-Kaczorowska, Na rozpoczęcie [To Start with], in: Muzyka île obecna, op. cit., p.
    [Show full text]
  • Transformations of Programming Policies
    The Warsaw Autumn International Festival of Contemporary Transformations of Programming Music Policies Małgorzata gąsiorowska Email: [email protected]???? Email: The Warsaw Autumn International Festival of Contemporary Music Transformations of Programming Policies Musicology today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0001 ABSTRACT situation that people have turned away from contemporary art because it is disturbing, perhaps necessarily so. Rather than The present paper surveys the history of the Warsaw Autumn festival confrontation, we sought only beauty, to help us to overcome the 1 focusing on changes in the Festival programming. I discuss the banality of everyday life. circumstances of organising a cyclic contemporary music festival of international status in Poland. I point out the relations between The situation of growing conflict between the bourgeois programming policies and the current political situation, which in the establishment (as the main addressee of broadly conceived early years of the Festival forced organisers to maintain balance between th Western and Soviet music as well as the music from the so-called art in the early 20 century) and the artists (whose “people’s democracies” (i.e. the Soviet bloc). Initial strong emphasis on uncompromising attitudes led them to question and the presentation of 20th-century classics was gradually replaced by an disrupt the canonical rules accepted by the audience and attempt to reflect different tendencies and new phenomena, also those by most critics) – led to certain critical situations which combining music with other arts. Despite changes and adjustments in marked the beginning of a new era in European culture. the programming policy, the central aim of the Festival’s founders – that of presenting contemporary music in all its diversity, without overdue In the history of music, one such symbolic date is 1913, emphasis on any particular trend – has consistently been pursued.
    [Show full text]