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ACD 245 Book Kol Layout 1 KARL AMADEUS HARTMANN (1905–1963) Kwartet smyczkowy nr 1 Carillon / String Quartet No. 1 Carillon* (1933) [22’49] [1] Langsam – Sehr lebhaft 8’20 [2] (Con sordino) 8’01 [3] (Con tutta forza) 6’28 Kwartet smyczkowy nr 2 / String Quartet No. 2* (1945–48) [30’13] [4] Langsam – Äußerst lebhaft und sehr energisch 11’05 [5] Andantino (sehr ausdrucksvoll) 11’55 [6] Presto 7’13 ANTON WEBERN (1883–1945) [7] Langsamer Satz na kwartet smyczkowy / for string quartet (1905) 10’00 Total time: 63’09 * Polska premiera nagrania / Polish premiere recording Aleksandra Czajor Natalia Warzecha-Karkus Julia Kotarba Grażyna Zubik I skrzypce / 1st violin altówka / viola wiolonczela / cello II skrzypce / 2nd violin AIRIS STRING QUARTET PL KARL AMADEUS HARTMANN Karl Amadeus Hartmann to z całą pewnością jedna z najciekawszych, a zarazem najmniej rozpoznawalnych postaci w plejadzie kompozytorów XX wieku. II wojna światowa zmusiła młodego, wówczas dwudziestoośmioletniego Hartmanna do podjęcia trudnej życiowej decyzji – stojąc bowiem u progu obiecującej kariery artystycznej, odmówił wszelkiej współpracy z nazistami, godząc się tym samym na zniknięcie z oficjalnego życia muzycznego III Rzeszy. Pozostał jednak w kraju, świadomie wybierając drogę „wewnętrznej emigracji”. Postawa ta była bardzo rzadkim zjawiskiem wśród artystów. Ci, którzy wyrażali sprzeciw wobec okrutnej polityki nazizmu, zazwyczaj podejmowali decyzję o opuszczeniu kraju, by móc swobodnie tworzyć. Pozostanie w samym centrum szalejącego hitleryzmu, z widmem artystycznego wyroku śmierci, musiało być podyk- towane niezwykłą siłą charakteru i sumienia. Nie był to jednak bierny akt rezygnacji. W zaciszu domu swoich teściów w Kempfenhausen pod Monachium, otoczony posiad- łościami nazistów, w tajem nicy przed sąsiadami, Hartmann komponował muzykę kipiącą od emocji, będącą zwierciadłem stanu jego duszy i świadectwem jego człowieczeństwa. Urodzony 2 sierpnia 1905 roku w Monachium, dorastał w rodzinie o tradycjach malar- skich, pedagogicznych i rzemieślniczych, kultywowanych przez jego dziadka, ojca EN KARL AMADEUS HARTMANN Karl Amadeus Hartmann is certainly one of the most interesting and at the same time the least recognisable figures in the constellation of 20th-century composers. World War II forced the young, then 28-year-old Hartmann to take a difficult life decision – standing at the threshold of a promising artistic career, he refused all cooperation with the Nazis, thus accepting his disappearance from the official musical life of the Third Reich. However, he remained in the country, consciously choosing the way of ‘inner emigration’. This attitude was a very rare phenomenon among artists. Those who ob- jected to the cruel policy of Nazism usually decided to leave the country to create freely. Remaining in the very centre of raging Hitlerism with the looming spook of artistic death sentence must have been testimony to his extraordinary power of character and integrity of conscience. However, it was not a passive act of resignation. In the quiet of the home owned by his parents-in-law in Kempfenhausen near Munich, surrounded by the Nazis’ estates, unbeknownst to his neighbours, Hartmann composed music surging with emotion, being a reflection of his soul and a testimony to his humanity. Born on 2 August 1905 in Munich, he grew up in a family with painting, pedagogical and craft traditions cultivated by his grandfather, father and three elder brothers. 6 KARL i trzech starszych braci. Matka Gertruda, rozmiłowana w literaturze, sztukach teatralnych i operze, organizowała w domu amatorskie przedstawienia z udziałem przyjaciół. AMADEUS HARTMANN Dzieciństwo w rodzinie o szerokim spektrum artystycznych zainteresowań rozwijało wrażliwość, wyobraźnię i interdyscyplinarność Hartmanna, który od wczesnych lat wy- kazywał także wielki talent muzyczny. Studiował w monachijskiej Staatliche Akademie der Tonkunst grę na puzonie, następnie kompozycję w klasie Josepha Haasa (ucznia Maxa Regera). Od początku fascynowało go wzajemne oddziaływanie sztuk i chłonął najnowsze trendy pojawiające się w różnych jej dyscyplinach. Zainspirowany niezwy- kłym rozwojem sztuk graficznych i teatralnych pragnął równie dynamicznego rozwoju w dziedzinie muzyki, co natrafiało na opór i niezrozumienie ze strony środowiska aka- demickiego. Ze względu na narastający konflikt z Haasem i walkę z konserwatyzmem uczelni porzucił studia. Poszukując indywidualnej drogi rozwoju, zwrócił się w stronę grupy artystów „Die Juryfreien”, powstałej w 1910 roku z potrzeby nowatorstwa i niczym nieograniczonej kreatywności; działał w niej także jego ojciec, a następnie najstarszy brat, Adolf. W roku 1928 Hartmann zapoczątkował serię koncertów towarzyszących wystawom sztuk plastycznych „Die Juryfreien”. Z biegiem lat wzrastała ranga tych kon- certów, przyciągały one coraz znakomitsze osobistości i cieszyły się doskonałą krytyką w prasie niemieckiej i zagranicznej. Dzięki nim publiczność poznawała najnowsze trendy w sztuce, takie jak dadaizm, futuryzm czy jazz. Niebagatelną rolę w rozwoju twórczym Hartmanna odegrał niemiecki dyrygent Hermann Scherchen, honorowy członek Międzynarodowego Towarzystwa Muzyki Współczesnej (ISCM), założyciel czasopisma muzycznego „Melos” i niestrudzony propagator muzyki 7 Their mother Gertrude, in love with literature, theatre and opera, organised amateur performances with her friends at home. A childhood lived in a family with a broad spectrum of artistic interests stimulated Hartmann’s sensitivity, imagination and inter- disciplinary approach to arts and life. Since the early years, he also showed great musical talent. He studied trombone at the Staatliche Akademie der Tonkunst in Munich, then composition in the class of Joseph Haas (student of Max Reger). From the very beginning, he was fascinated by the interplay of artistic genres and absorbed the latest trends sprouting in various disciplines. Inspired by the extraordinary development of graphic arts and theatre, he also craved for an equally dynamic progress in the field of music, which triggered resistance and misunderstanding in academia. Due to the growing conflict with Haas and the struggle against the conservatism of the university, he gave up his studies. Seeking an individual way of development, he turned to the group of artists ‘Die Juryfreien’, born in 1910 out of the need for novelty and unharnessed creativity. Hartmann’s father was also active there, followed by Karl’s eldest brother, Adolf. In 1928, Hartmann launched a series of concerts accompanying art exhibitions put up by ‘Die Juryfreien’. Over the years, the importance of these concerts rose, and they attracted more and more prominent personalities, enjoying rave reviews in the German and foreign press. Thanks to them, the audience got to know the latest trends in art, such as Dadaism, Futurism and jazz. A significant role in Hartmann’s creative evolution was played by the German conductor Hermann Scherchen, an honorary member of the International Society for Contemporary Music (ISCM), founder of the music journal Melos and tireless promoter of contemporary 8 KARL współczesnej. Bardzo szybko stał się on mentorem i przyjacielem młodego kompozy- tora, inspirował i wspierał go w artystycznych przedsięwzięciach oraz promował jego AMADEUS HARTMANN dzieła na rozmaitych festiwalach, m.in. w Strasburgu, Pradze czy Winterthur. W latach 1942–43 Hartmann kształcił się także pod okiem jednego z dodekafonistów wiedeń- skich, Antona Weberna. Istotne znaczenie w kształtowaniu się języka kompozytorskiego Hartmanna miały inspiracje płynące z muzyki Wschodu, zwłaszcza tej zbliżonej do mikrotonowości, jak melizmatyczne śpiewy i lamentacje synagogalne. W roku 1928 kompozytor uczęszczał na spektakle żydowskiej grupy teatralnej Habima (powstałej w Moskwie w 1917 roku), która przyjechała do Monachium w ramach tournée po Europie i Ameryce. Po spekta- klach dyskutował z aktorami, co często łączyło się ze wspólnym muzykowaniem. W swoich zapiskach Kleine Schriften wspominał, iż był pod ogromnym wrażeniem au- tentyzmu i intensywności ich śpiewu, zatracania się w sztuce „tak jakby jutra miało nie być”. Na jego osobisty stosunek do kultury żydowskiej wpłynęła również przyjaźń z siostrami Elisabeth i Marią Luise Kohn. Elisabeth była jedną z pierwszych bawarskich kobiet prawniczek, polityczną aktywistką socjaldemokratyczną, Maria natomiast – rysowniczką i malarką tworzącą pod pseudonimem Maria Luiko, która dołączyła do grupy „Die Juryfreien”. Podobne podejście Hartmanna i Marii do sztuki, otwartość na niczym nieograniczony rozwój, ciekawość nowych idei, kultur odległych zakątków świata – to wszystko było źródłem twórczych rozmów i wzajemnej inspiracji. Przyjaźń gwałtownie przerwała deportacja sióstr i ich matki do Rygi w 1941 roku, skąd następnie zostały przewiezione do obozu koncentracyjnego w Kownie i zamordowane. Tragiczny 9 music. He soon became a mentor and friend of the young composer, inspired and sup- ported him in artistic endeavours and promoted his works at various festivals, including in Strasbourg, Prague and Winterthur. In the years 1942–43, Hartmann also studied under the supervision of one of the Viennese dodecaphonists, Anton Webern. Inspiration coming from the music of the East, especially the music similar to micro- tonal music such as melismatic chants and synagogue lamentations, played an important role in shaping Hartmann’s compositional language. In 1928, the composer attended performances of the Jewish theatre group Habima (founded in Moscow in 1917), who came to Munich as part of their tour of Europe and America.
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