Literature and visual arts as a source of inspiration

in the work of Krystyna Moszumańska-Nazar

JOANNA MIKLASZEWSKA Institute of Musicology, University of Wrocław Email: [email protected]

This publication has been financed from the funds of the Ministry of Science and Higher Education allocated for the promotion and dissemination of science under agreement 730/P-DUN/2019.

Open Access. © 2019 Joanna Miklaszewska, published by Sciendo. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Literature and visual arts as a source of inspiration in the work of Krystyna Moszumańska-Nazar

Musicology Today • Vol. 16 • 2019 DOI: 10.2478/muso-2019-0006

ABSTRACT arts, especially literature and poetry.”3 The composer particularly emphasised the importance of literary This article is a contribution to scientific research on this aspect of Krystyna Moszumańska-Nazar’s musical output which concerns the inspirations in her work. On the other hand, analyses connections between her music and other arts, primarily literature of the titles of her works and the poetic texts to which and the visual arts, as well as inspirations flowing from nature, religion, her compositions were written indicates a much broader philosophy, and broadly understood culture. The article applies extra-musical context that she herself referred to. structuralist methodology. The starting point for the analysis of the Therefore, four categories of inspirations and non-musical phenomena in question is the musical work itself, its title and its structure, and in the case of vocal-instrumental works - the content references can be distinguished in Moszumańska-Nazar’s and message of the literary text and the person of its author. In the part works: 1) literary inspirations, 2) inspirations from of the article which deals with the biography and artistic personality of visual arts, 3) religious inspirations, and those derived Krystyna Moszumańska-Nazar, as well as by quoting the composer’s own from a broadly understood culture and philosophy, 4) statements in the text, I draw on the personalistic method, especially inspirations flowing from nature. Several compositions highly valued in 20th-century philosophy; this method emphasises the role of the human person and personality in analytic work. can be assigned to each of these categories (or even more In the musicological literature to date there exists no separate, large- than a dozen works in the case of literary, religious, and scale study dedicated to the subject of non-musical inspirations in the general cultural inspirations). works of Krystyna Moszumańska-Nazar. This topic has been tackled, Krystyna Moszumańska-Nazar wrote the following however, in scientific dissertations dealing with various aspects of the about inspirations from literature in her works: composer’s work. For example, inspirations from the sphere of the sacrum have been indicated by Marek Stefański (2011), whereas Ewa Mizerska-Golonek (1992) writes about inspirations derived from the It is very difficult to determine to what extent the text itself, following Biblical text in Krystyna Moszumańska-Nazar’s Song of Songs, and the composer’s first fascination with it, conducts the music, and to Hanna Kostrzewska (2012) discusses painting as a source of inspiration what extent its influence can be determined. However, the order in the composer’s oeuvre. The main source of information on this in which a music composition is influenced by a literary work is as subject, however, are the composer’s own statements: her ‘Autorefleksja follows: 1) learning about the text (poem, prose), being delighted kompozytorska’ [‘The Composer’s Self-Commentary’]1 and interviews.2 with it, which triggers musical imagination; 2) the willingness to write a work setting this text, or influenced by it, 3) the actual Keywords: literature, visual arts, culture, Krystyna Moszumańska- composition process. This is how, for example, myPolish Madonnas Nazar, syncretism came into being4.

Moszumańska-Nazar’s numerous works inspired LITERATURE AND FINE ARTS AS by literature can be divided into two groups with A SOURCE OF INSPIRATION regard to the source of their inspiration. The first group consists of vocal-instrumental pieces composed Krystyna Moszumańska-Nazar distinguished four to texts by 20th-century poets, mainly Polish ones types of inspiration for her compositions: 1) those (Władysław Broniewski, Leopold Staff, Julian Tuwim, occurring as a consequence of a commission, 2) Jerzy Harasymowicz). One exception is Wyzwanie irrational inspiration, 3) provoked by listening to the [Challenge] for baritone and chamber ensemble (1977) music of another composer, 4) inspiration “from other composed to a text by the Welsh poet Dylan Thomas. Krzysztof Baculewski, writing about the generation of Polish composers active after 1956, indicates that 1 K. Moszumańska-Nazar, ‘Autorefleksja kompozytorska’ [‘The one of the most important tendencies in their works Composer’s Self-Commentary’], in K. Kasperek, Krystyna was their broadly understood humanism, which made Moszumańska-Nazar. Katalog tematyczny utworów, Cracow, Academy of Music, 2004, pp. 149–153. them reach for various texts, both by ancient and contemporary poets, commenting on the tragic legacy 2 M. Woźna-Stankiewicz, Lwowskie geny osobowości twórczej. Rozmowy z Krystyną Moszumańską-Nazar [The Lviv Gene of Artistic Personality: Interviews with Krystyna Moszumańska- Moszumańska-Nazar, Autorefleksja, pp. 152–153. Unless Nazar], Cracow, Musica Iagellonica, 2007; M. Janicka-Słysz, 3 otherwise stated, all the translations have been made by the ‘Z walcem w tle’ [‘With Waltz in the Background’], interview with author of this article. Krystyna Moszumańska-Nazar, Ruch Muzyczny, no. 18, 2004, pp. 8–9. 4 Ibid., p. 153.

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of World War II, but also on the fate of modern man. confusion and anxiety, and represents the opposition’s In this context he mentions, among others, Challenge struggle against the communist regime. by Krystyna Moszumańska-Nazar5. The composer’s literary inspirations are also evident in the The second group consists of instrumental pieces 12-minute-long APigram for piano (2004). Its title refers (for different sets of instruments), whose titles indicate to the ancient Greek concise literary form of the epigram, inspirations by literary genres such as an essay, rhapsody which sometimes included a witty punch line. Probably (Pol. rapsod) and dialogue (4 Essays for orchestra, with reference to this idea, the title of Moszumańska-Nazar’s 1958; 2 Dialogues for instrumental ensemble; Rapsod work contains a witty metagram: the first letter of the word II for orchestra). 4 Essays for orchestra is a lost work. epigram was changed to ‘a’; as a result, the changed word According to the information provided in the composer’s also refers to the initial of the first name and the first two catalogue of works, it was a cycle consisting of four one- letters of the surname of the pianist Andrzej Pikul, the first movement pieces, with a total duration of c. 8’. Krystyna performer of the work and its dedicatee. Moszumańska-Nazar described this work as follows: Also noteworthy is the title of the work Intonations “An essay is a short story, a statement characterised by for two mixed choirs and orchestra (1968). Intonation a casual form; so I thought that also for my music pieces, is a term derived from linguistics and means equipping composed in a non-schematic form, the title Essays would a spoken word with a particular melody (various be appropriate.”6 The brevity of the individual parts of intonation patterns are distinguished, including rising the work and their free form (presumably each of the four and falling). It is also a musical term with several meanings, parts lasted c. 2 minutes) suggests associations with the including the accurate performance of musical pitches. In literary form of an essay, defined by thePWN Dictionary Intonations, the composer’s intention was “to implement of the Polish Language as a “short scientific or literary her own acoustic and formal vision.”10 She introduced dissertation presenting the topic in a subjective way.”7 In such original types of vocal voice articulations as: “spoken 2 Dialogues, the composer’s intention was to treat all the singing at a given pitch” and “pronouncing the text at any instruments in a soloist way and metaphorically depict pitch.” The work, which has not yet been performed, bears “their conversations.”8 testimony to the author’s original inventiveness in sound. The narrative character of the music of Rapsod II9 Another example of an ambiguous title are Interpretations and the dramatic culminations in this work suggest for flute, tape and percussion created in 1967. The term a convergence with the literary genre of rapsod interpretation refers both to the scientific analysis of [a genre in Polish poetry, related to, but not identical a literary work used in literary studies and the way in with, the Greek notion of rhapsōidia, which concerns which a musical, theatrical, or literary work is performed. the oral performance of epic poetry – translator’s By prescribing only approximate rhythmic values in​​ the note] – a poetic work of a sublime character celebrating first part of the composition, the composer emphasises an important historical event. The composition was the interpretation of the work by its performers. written in 1980. Its dramatic expression reflects the Inspirations derived from visual arts are evident in the social moods in this crucial period in Polish history, composer’s Frescos. In 1988, 1991 and 1993 three Frescos following the emergence of the ‘Solidarity’ trade union were successively composed, the third of which was movement, which led to a change of political system additionally subtitled Lviv. Hanna Kostrzewska points a few years later. With the help of the composer’s out that the word ‘fresco’ has a metaphorical context rich palette of sonoristic means, the music reflects in these works, “mainly due to the presence in each of the three works of multi-coloured sound structures in a horizontal and vertical arrangement.”11 The composer 5 K. Baculewski, Polska twórczość kompozytorska 1945-1984 [Polish Composers’ Output 1945-1984], Cracow, Polskie also refers to the painting technique used in frescoes (the Wydawnictwo Muzyczne, 1987, pp. 149–150. application of several layers of mortar, its appropriate 6 Woźna-Stankiewicz, Lwowskie geny, pp. 167–168. 7 W. Doroszewski (ed.), Słownik języka polskiego, PWN, 10 Kasperek, Krystyna Moszumańska-Nazar, p. 50. https://sjp.pwn.pl/szukaj/esej.html (accessed 22.10.2019). 11 H. Kostrzewska, Fresk w muzyce polskiej XX i XXI wieku. The composer’s own statement, in Kasperek, Krystyna 8 W poszukiwaniu differentia specifica [The Fresco in Polish Moszumańska-Nazar, p. 109. 20th- and 21st-Century Music. In Search of a differentia specifica], 9 The manuscript of Rapsod I for orchestra from 1975 is missing. Poznań, Academy of Music, 2012, p. 109.

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composition and the selection of appropriate dyes, which other – a dramatic element, introduced through results in a greater or lesser intensity of colours) by taking dynamic and textural contrasts. According to the advantage of the rich colours of orchestral sound12. In the composer’s own words: “This is a short work, very Third Fresco ‘Lviv’ she also introduced quotes related to subjective, in which I used the sound qualities of the the history of her home city (namely, the Marian hymn organ extensively, trying to express the feelings and The beautiful Star of the City of Lviv, a quote from the thoughts that accompany us while we pray.”16 Marek song Legions, and from a batiar song performed during Stefański, to whom the song was dedicated, and who World War II). was its first performer, writes that this piece is “a kind of free, subjective impression, the title of which defines its programme. It is simply a ‘short prayer’, presenting INSPIRATIONS DERIVED FROM RELIGION, the author’s personal reflections that accompany the 17 NATURE, BROADLY UNDERSTOOD act of praying.” Pater noster is an occasional piece CULTURE, AND PHILOSOPHY written for the clerics at the seminary of the Friars Minor Capuchin in Krakow, but eventually premiered by ‘Camervox’ Chamber Choir conducted by Adam Religious inspirations found their expression in Korzeniowski during a holy mass at St Mary’s Church several of the composer’s works. These are:Polish in Krakow in 1999, for the inauguration of the 11th Madonnas for mixed choir and orchestra (1974), Song International Festival of Krakow Composers. of Songs for soprano, male reciting voice, reciting choir In Polish Madonnas, the composer reached for the and chamber instrumental ensemble (1982), Oratio poetry of Jerzy Harasymowicz and his poems from brevis for organ (1995), and Pater noster for male choir the cycle Madonny polskie, which were inspired by the and organ (1987). In Song of Songs, the composer set the sacred art of the Nowy Sącz region and the images of text of the Old Testament book as translated into Polish the Madonna and Child created by folk artists. Krystyna by Roman Brandstaetter. She described this translation Moszumańska-Nazar wrote: as “filled (...) very strongly with the atmosphere of the 13 ancient East and its sensuality,” which the composer This poetry depicted for me the charm and beauty of old, folk and tried to reflect in her own composition. Ewa Mizerska- artistic paintings and sculptures of Madonna and Child, which Golonek draws attention to the opposition of the vocal adorn village churches and roadside chapels in Poland; [...] through and instrumental parts in Song of Songs - the ascetic a specific choice of orchestral instruments – individual winds, a very large, ‘ringing’, metallic set of percussion, and low strings, character of the vocal layer contrasts with the rich and I intended to translate into the music the atmosphere of the poems, diverse instrumental one. The author also distinguishes and the atmosphere of a rural procession, moving from one shrine two orders in the formal organisation of the work. The to another18. first, linear, constructed as a succession of fragments- images (“there is more sound painting here, also stability The composer’s oeuvre also includes several works and montage technique”14) and the second, spatial one, inspired by broadly understood culture and philosophy. which introduces elements of the drama (“simulated These are: Hexaèdre for orchestra (1960), Exodus dialogues; dramatic role of the choir; the appearance of for orchestra (1964), Implications for 2 pianos and characters in the background, marking their presence percussion (1969), as well as Bel canto for soprano, in a symbolic way; overlap between current events and celesta and percussion (1972). The titleHexaèdre means reminiscences of past events.”15) in Greek: a hexagon. The composition, consisting of six In Oratio brevis, the music represents, on one parts, is the fruit of the author’s search and experiments hand, a calm prayer-like character, and on the 16 The composer’s own statement, in Kasperek, Krystyna Moszumańska-Nazar, p. 111. 12 The composer’s own statement, in Woźna-Stankiewicz, Lwowskie geny, pp. 168–169. 17 M. Stefański, Źródła inspiracji twórczych i formy ich wyrazu w muzyce organowej kompozytorów krakowskich drugiej połowy The composer’s own statement, after Mizerska-Golonek, 13 XX wieku [Sources of Artistic Inspiration and Their Reflections “Pieśń nad pieśniami”, p. 109. in Organ Music Written by Cracow Composers in the 2nd Half 14 Ibid., p. 143. of the 20th Century], Cracow, Academy of Music, 2011, p. 81. 15 Ibid., p. 143. 18 Kasperek, Krystyna Moszumańska-Nazar, p. 73.

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in the field of new sounds, typical of the second, Several works by Krystyna Moszumańska-Nazar experimental-sonoristic period of her work19. It applies were inspired by nature. These include:Constellations the dodecaphonic technique, pointillistic textures, as for piano (1972), Flowers for instrumental ensemble well as a new type of sound colour, produced by clapping (1997), and Music in Autumn for clarinet, bells and curved hands together. percussion (2001). The title of the first piece refers The titleExodus does not refer to Biblical history to the concept of a constellation, used in astronomy. but to the figurative meaning of the word. This This is confirmed by the composer’s statement: composition is a fruit of the composer’s personal “Constellations – certain colour systems in my music experiences at the time of its creation: “I had overcome are just like the luminous ribbons of stars in the a certain impasse in my life, and thought that the title sky.”23 ThePWN Dictionary of the Polish Language of the work composed at that time should reflect this also quotes another meaning of the word: “a system or ‘escape’.”20 Implication, on the other hand, is a term in a state of affairs existing somewhere.”24 The composer’s logic that describes “the logical relation between two claim that “the work is based on selected interval- sentences, the first of which entails the second.”21 Due note systems, occurring in different textures”,25 also to the fact that Moszumańska-Nazar’s Implications indicates a reference to this second, more general is a lost work, it is not possible to examine whether meaning of the word ‘constellation’ in her piece. and how the composition technique or structure A poetic reference to belle epoque – an irrevocably gone of that work drew on the philosophical concept of era – can be found in Flowers for 2 flutes, oboe, clarinet implication. The virtuoso piece Serpentine for oboe and piano (1995-1997). This epoch is symbolised by solo refers in a metaphorical way – through the type the titles of individual sections of this work, which of melody of a decorative, ‘curling’ character – to refer to flowers typical of the turn of the 19th century: the shape of a streamer, but also, as the composer Heliotrope, Tuberose, Mimosa, and Iris (the last section is emphasises, to the appearance and name of the serpent, called Bouquet). In the composer’s view, “the music does a musical instrument from the zinc family22. In the not represent the shapes or colours of the flowers; instead, case of Bel canto, the original title of the work, despite I wanted to express their ‘personalities’.”26 These flowers its immediate associations with the music of the 18th were characterised, as the composer wrote, “by elegance, or 19th centuries, was supposed to refer to a certain charm, admiration and feeling.”27 Music in Autumn, as kind of bel canto technique used by singers in the 20th the catalogue of the composer’s works informs us, was century. The composition contains interesting vocal written in Cracow in October and November 2001. It effects and unconventional articulations. Inspirations is therefore likely that the magical, colourful autumn from the musical culture of the 19th century are landscape of the city park of Planty in Cracow, near present, however, in several other works by Krystyna which the composer’s house was located, may have been Moszumańska-Nazar. The genres typical of the music one of the inspirations for this work. of the Romantic era include: Variazioni concertanti for Scientific studies concerning the musical output flute and chamber orchestra (1966), 3 Concert Etudes, of Krystyna Moszumańska-Nazar emphasise Moments musicaux, as well as several waltzes, such as such qualities of her individual musical style the Grande valse d´anniversaire for piano (2000). as: “the composer’s sensitivity to colour” (J. Paja- Stach28), “a dynamism of the musical unfolding”

19 The composer herself distinguished three periods in her 23 Woźna-Stankiewicz, Lwowskie geny, p. 166–167. work: 1. until 1958 – neoclassical; 2. 1959-1973 – experimental- W. Doroszewski (ed.), Słownik języka polskiego, PWN, sonoristic; 3. after 1974 – a synthesis of the existing trends and 24 https://sjp.pwn.pl/sjp/konstelacja;2473379.html (accessed concepts. Cf. Moszumańska-Nazar, Autorefleksja, p. 152. 20.10.2019). 20 The composer’s own statement, in Woźna-Stankiewicz, The composer’s own statement, in Kasperek, Krystyna Lwowskie geny, p. 166. 25 Moszumańska-Nazar, p. 62. 21 W. Doroszewski (ed.), Słownik języka polskiego, PWN, The composer’s own statement, ibid., p. 118. https://sjp.pwn.pl/doroszewski/implikacja;5434461.html 26 (accessed 20.10.2019). 27 The composer’s own statement, ibid., p. 118. 22 The composer’s own statement, in Woźna-Stankiewicz, 28 J. Paja-Stach, Polish Music from Paderewski to Penderecki, Lwowskie geny, p. 167. trans. C.E. Thornton, Cracow, Musica Iagellonica, 2010, p. 209.

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(M. Janicka-Słysz29), and the principle of contrast they visited the opera and operetta and were “typical as the overriding quality of the composer’s style (T. middle-class music lovers.”33 In Lviv, Krystyna pursued Sobaniec30). Ewa Mizerska-Golonek writes about her musical education at the Anna Niementowska Moszumańska-Nazar’s works for percussion that this Institute of Music, and later (from 1936) at the music is “beautiful, noble, emerging from the depths, Conservatory. In 1945, as a result of the resettlement of full of expression, and imbued with thought.”31 Poles from territories annexed to the USSR, she moved Irina Nikolskaya compared Moszumańska-Nazar’s to Cracow with her family. From 1949, she studied style to that of Tadeusz Baird, and claimed that the piano with Jan Hoffman and composition with Stanisław former composer’s style has evolved in the direction Wiechowicz at the State Higher School of Music in of sonorism, but also contains elements that are Cracow, graduating in both fields of study in 1955. unusual in sonoristic music (such as thematicism From 1963, she worked as a teacher at the State Higher and the significance of metro-rhythmic structures)32. School of Music (now the Academy of Music) in Cracow, The musical style of Krystyna Moszumańska-Nazar from 1981 – as an associate professor, from 1986 – as contains contrasted elements. On the one hand, it a titular professor. She taught the composition classes at is characterised by the dramatic expression of sound the Academy of Music; her students included, among structures and powerful climaxes, on the other – by others, Magdalena Długosz, Aleksandra Gryka, Marzena lyrical elements. The composer experimented in the Korzeniowska, Jerzy Kluzowicz, Michał Kluzowicz, field of timbre, mainly in the field of instrumental Adrian Konarski, Anna Mikulska, and Anna Zawadzka- music. Percussion instruments were particularly Gołosz. She also taught instrumentation, fugue writing, important in her work. She composed works for and contemporary composition techniques. In 1974-75 solo percussion, chamber music with percussion, she headed the Department of Composition; in 1975- as well as a Concerto for percussion and orchestra. 78 she was the dean of the Department of Composition, Percussion instruments also played a major role in Conducting and Theory of Music; from 1978 – deputy her symphonic output. vice-chancellor, and in 1987-1993 vice-chancellor of the Academy of Music. In 1967-71 she was the president of the Cracow branch of the Polish Composers’ Union, and THE ARTISTIC PERSONALITY AND in 1971-72 – a member of the Union’s managing board. BIOGRAPHY OF THE COMPOSER From 1993 she was active in the Council of Higher Artistic Education. She served on the juries of local and Krystyna Moszumańska-Nazar was born on 5th international competitions for composers. She gave September 1924 in Lwów (now Lviv in Ukraine). Her lectures on her own music, on contemporary music and parents were not professionally involved in music, but new music notation in Poland and abroad (e.g. in Leipzig, Mannheim, Heidelberg, Nuremberg, and Lviv). 29 M. Janicka-Słysz, ‘Moszumańska-Nazar Krystyna’, in The composer won numerous awards for her works, M. Podhajski (ed.), Polish Music. Polish Composers including: an honourable mention in the Young 1918-2010, Gdańsk, Academy of Music-Lublin, Katolicki Composers’ Competition of the Polish Composers’ Uniwersytet Lubelski, 2013, p. 867. Union for Oberek from the Polish Dance Suite (1954); 30 T. Sobaniec, Perkusja znakiem rozpoznawczym muzyki honourable mentions in the International Competition Krystyny Moszumańskiej-Nazar [Percussion as a Hallmark of for Women Composers in Mannheim for Hexaèdre Krystyna Moszumańska-Nazar’s Music], Cracow, Academy of (1961) and Exodus (1966); the 1st prize and gold medal in Music, 2011, p. 105. the International Competition for Women Composers in 31 E. Mizerska-Golonek, ‘Krystyna Moszumańska-Nazar i jej Buenos Aires for Music for Strings (1962), the 3rd prize in muzyka na perkusję solo’ [‘Krystyna Moszumańska-Nazar’s Music for Solo Percussion’], in K. Droba, T. Malecka and K. the Artur Malawski Composers’ Competition in Cracow nd Szwajgier (eds.), Muzyka polska 1945-1995 [Polish Music 1945- for Concert Variations (1966), the 2 prize in the Karol 1995], Cracow, Academy of Music, 1996, p. 194. Szymanowski Composers’ Competition in Warsaw for 32 I. Nikolskaya, Ot Shimanovskogo do Lyutoslavskogo Polish Madonnas (1974). Her other accolades include, i Penderetskogo: Ocherki razvitya simfonicheskoy muzyki v Polshe XX veka [From Szymanowski to Lutosławski and Penderecki. Essays on the Development of Symphonic Music 33 The composer’s own statement, in Woźna-Stankiewicz, in 20th-Century Poland], Moscow, Sovetskiy Kompozitor, 1990. Lwowskie geny, pp. 12.

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among others, the Award of the Polish Composers’ Union that its originality was determined by several factors: her (1988), five times the Award of the Minister of Culture extensive knowledge of 20th-century music, her beautiful and Art (1971, 1977, 1984, 1987, and 1991), the Prime way of presenting the issues, combined with a storytelling Minister’s Award for works for children and teenagers talent and an unconventional style of presentation (1977), the Award of the City of Cracow (1970), the that did not avoid digressions, and even sometimes Commander’s Cross of the Order of Polonia Restituta incorporated controversial judgments. (1999), the title of Officer of the French Order of Arts These classes were also unique because their participants and Letters (2004), the Gold Medal of Merit to Culture – were entrusted with practical tasks – such as composing Gloria Artis (2007), and an honorary doctorate from the short musical pieces in imitation of the style of a given Academy of Music in Cracow (2007). The composer died 20th-century composer, e.g. Alexander Scriabin or Béla on 27th September 2008 in Cracow. Bartók. Writing these short exercises in composition was a fascinating task for young students of music theory, and *** certainly significantly deepened our knowledge of those I met Krystyna Moszumańska-Nazar for the first time masters’ music. Professor Moszumańska played the pieces during my studies at the Academy of Music in Cracow in that we wrote at home on the piano and commented on the early 1990s. She was at that time the vice-chancellor them at the same time. Her comments were professional of the Academy. In this capacity, she made efforts and were characterised by outstanding expertise in the field. to transfer the Academy from a four-storey building She also did not avoid critical remarks, but it was always in Starowiślna Street (shared with the AST National constructive criticism, which aimed to point out a specific Academy of Theatre Arts), which was too small for the error, and help the student to avoid it in the future. needs of such a large school, and had too few rehearsal In her term of office as vice-chancellor, she admirably rooms, to the new building at 43 Świętego Tomasza Street combined the numerous administrative duties resulting (which had previously been occupied by the communist from her functions with composing music and teaching party’s provincial committee). Her efforts finally proved activity. Despite so many additional duties, her classes successful in 1993. were always held regularly and were never cancelled. The 1980s and 90s were an exceptional period in The high demands she placed on herself were inspiring the history of the Academy of Music in Cracow. In for the students. Years later, I can say that these classes those years, students of the Academy had a chance to were extremely educational and introduced students of work with a veritable galaxy of outstanding composers. music theory very well to the world of 20th-century music Composition classes were taught by Krzysztof Penderecki, composition. Krystyna Moszumańska-Nazar, Marek Stachowski, Participants of the course conducted by Professor Zbigniew Bujarski, and Bogusław Schaeffer. As a student Moszumańska-Nazar were aware that they were working of music theory at that time, I attended classes on a variety with an extraordinary person. Her high personal culture of subjects, conducted by: Krystyna Moszumańska- was evident both in the way she expressed herself and Nazar (contemporary composition techniques), Marek in the ways she addressed other people, as well as in her Stachowski (instrumentation), Zbigniew Bujarski (lecture beautiful and elegant appearance. She was endowed seminar), Bogusław Schaeffer (introduction to scientific with a personal charm that made itself felt from the research), Adam Kaczyński (contemporary music very first meeting. Her personality was also characterised performance), and Marek Chołoniewski (electronic by calm and balance in her interpersonal relations music seminar). and a great distance from the surrounding reality. She For the first time I had the opportunity to meet was aptly described as ‘the First Lady of Polish Music’. Professor Krystyna Moszumańska-Nazar in the 3rd As a lecturer and vice-chancellor of the Academy of year of my studies, when I attended her classes in Music, she was a person admired by students, valued for contemporary composition techniques. The classes her professionalism, and setting the highest standards in were greatly diversified, and she employed a variety of professional work. teaching methods. Among others, she gave a lecture on I later met Moszumańska-Nazar in the late 1990s, contemporary music, which was extremely interesting when I worked on the editorial board of PWM Edition’s for the audience. It is difficult unequivocally to define Music Encyclopaedia, whose scientific editor was her ‘patent’ for a perfect lecture held for students. I think Elżbieta Dziębowska, PhD. The entry about Krystyna

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Moszumańska-Nazar was scheduled to appear in the 6th performed and recorded by such well-known artists volume of the Encyclopedia, which comprised the entries as: conductors Jerzy Katlewicz, Jan Krenz, Krzysztof beginning with the letter ‘M’. Professor Adam Walaciński, Missona, Wojciech Michniewski, Jerzy Salwarowski, the Encyclopaedia’s Scientific Editor for 20th-Century and Tadeusz Strugała; violinist Kaja Danczowska; cellist Composers (i.e. those born after 1900), with whom Dorota Imiełowska; double-bass player Kazimierz I cooperated at that time as an editor in this department, Pyzik; flutist Barbara Świątek-Żelazny; organist Marek entrusted to me the task of writing this entry. He also Stefański; percussionists Marta Ptaszyńska, Jan Pilch advised me to contact Professor Moszumańska by phone and Janusz Stefański; pianists Andrzej Pikul and Adam and ask her for access to materials that could be used Wodnicki; singers Helena Łazarska and Jerzy Artysz, in the text. At that time, Professor Moszumańska-Nazar as well as ensembles: Cracow Percussion Group, the invited me to her home and provided me with various Silesian Quartet, Wilanów Quartet, and MW2. materials that became the basis for writing an entry Non-musical inspirations – from literature, art, about her. Those were: the composer’s self-commentary, philosophy and nature – appeared in all the periods her biography, list of works, list of prizes received at of Krystyna Moszumańska-Nazar’s work, from her composers’ competitions, scores and recordings of her early orchestral 4 Essays (1958), through the sonoristic works. Interpretations (1967), to APigram for piano solo (2004). During the meeting I had the opportunity to learn Syncretism is evident also in the titles of many of her more about the composer’s interests and get to know works, which combine names of literary and musical her better. Her flat was located on the ground floor of genres into one whole. a historic 19th-century tenement in the Old Town of Cracow, not far from the Main Square. It was a beautiful, large apartment with several rooms, tastefully decorated, REFERENCES full of antiques and various beautiful objects. I remember that we sat in her bright and spacious living room at Doroszewski, W. (ed.), Słownik języka polskiego, PWN, a round table, talking about various topics. The professor online edition, https://sjp.pwn.pl/. had very wide interests, so the conversation concerned Janicka-Słysz, M., ‘Moszumańska-Nazar Krystyna’, in not only topics related to music and contemporary M. Podhajski (ed.), Polish Music. Polish Composers music education, but also the work of the institution in 1918-2010, Gdańsk, Academy of Music-Lublin, which I worked at that time – PWM Edition, as well as Katolicki Uniwersytet Lubelski, 2013. other topics, such as current politics, both domestic and Janicka-Słysz, M., ‘Z walcem w tle’, an interview with international – a subject of which she had an extensive Krystyna Moszumańska-Nazar, Ruch Muzyczny, no. 18, knowledge. Thanks to the materials obtained from 2004, pp. 8–9. her at that time, I could thoroughly prepare the entry Kasperek, K., Krystyna Moszumańska-Nazar. Katalog documenting her work, which was based on verified tematyczny utworów, Cracow, Academy of Music, 2004. information. Kostrzewska, H., Fresk w muzyce polskiej XX i XXI wieku. Krystyna Moszumańska-Nazar was one of the most W poszukiwaniu differentia specifica, Poznań, Academy outstanding individualities in Polish music at the turn of Music, 2012. of the 20th century. The large scale of interest in her Mizerska-Golonek, E., ‘Krystyna Moszumańska-Nazar work is reflected in the numerous awards that she i jej muzyka na perkusję’, in K. Droba, T. Małecka received at composers’ competitions, in their regular and K. Szwajgier (eds.), Muzyka polska 1945–1995, performances at the Warsaw Autumn festival, and, most Cracow, Academy of Music 1996, pp. 183–198. of all, their continued presence in concert repertoires. Mizerska-Golonek, E., “‘Pieśń nad pieśniami’ Krystyny Numerous performances of her works have taken place Moszumańskiej-Nazar’, in T. Malecka (ed.), Krakowska in Poland and throughout Europe (including Austria, szkoła kompozytorska 1888-1988, Cracow, Academy of Belgium, the Czech Republic, Denmark, France, Music, 1992, pp. 109–147. Greece, Italy, the Netherlands, Germany, Norway, Moszumańska-Nazar, K., ‘Autorefleksja kompozytorska’, Russia, Switzerland, Sweden, Ukraine, and the United in K. Kasperek, Krystyna Moszumańska-Nazar. Katalog Kingdom) as well as worldwide (in Brazil, Israel, tematyczny utworów, Cracow, Academy of Music, Japan, and the United States). Her music has been 2004, pp. 149–153.

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Nikolskaya, I., Ot Shimanovskogo do Lyutoslavskogo Woźna-Stankiewicz, M., Lwowskie geny osobowości i Penderetskogo: Ocherki razvitya simfonicheskoy muzyki twórczej. Rozmowy z Krystyną Moszumańską-Nazar, v Polshe XX veka, Moscow, Sovetskij Kompozitor, 1990. Cracow, Musica Iagellonica, 2007. Paja-Stach, J., Polish Music from Paderewski to Penderecki, trans. C.E. Thornton, Cracow, Musica Iagellonica, Joanna Miklaszewska obtained a PhD in art studies from the 2010. Faculty of History of the Jagiellonian University (2001). Since Przenieść na trzecią pozycję: Janicka-Słysz, M., ‘Z walcem 2007 she has worked at the University of Wrocław as a lecturer at w tle’, an interview with Krystyna Moszumańska- the Institute of Musicology. In the years 2015-2016 she was the Institute’s deputy director for education. In 2016 she obtained a Nazar, Ruch Muzyczny, no. 18, 2004, pp. 8–9. postdoctoral degree in art studies from the Faculty of Historical Sobaniec, T., Perkusja znakiem rozpoznawczym muzyki and Pedagogical Sciences of the University of Wrocław. Her main Krystyny Moszumańskiej-Nazar, Cracow, Academy of fields of interest are: minimalism in Polish music, political opera, Music, 2011. American music of the 20th century, and musical lexicography. Stefański, M., Źródła inspiracji twórczych i formy ich She is the author of a number of scientific publications on these topics, among others: Minimalizm w muzyce polskiej [Minimalism in wyrazu w muzyce organowej kompozytorów krakowskich Polish Music], Cracow, Musica Iagellonica 2003; American Political drugiej połowy XX wieku, Cracow, Academy of Music, Opera in the Twentieth Century, Berlin, Peter Lang 2018, as well as 2011. numerous entries in music encyclopaedias.

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