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The Nation's Shadow: the Politicization of Fryderyk Chopin

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The Nation's Shadow: the Politicization of Fryderyk Chopin THE NATION’S SHADOW: THE POLITICIZATION OF FRYDERYK CHOPIN A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Jonathan Amado Gonzalez August 2020 Thesis written by Jonathan Amado Gonzalez B.A. Art History, Kent State University, August 2018 M. A. Art History, Kent State University, August 2020 Approved by ______________________________________ John-Michael Warner, Ph.D., Advisor ______________________________________ Marie Bukowski, M.F.A., Director, School of Art ______________________________________ John R. Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES……………………………………………………………………….….….................v ACKNOWLEDGMENTS…………………………………………………………………………………vi CHAPTER I. INTRODUCTION…………………………………………………………………………………….1 II. FOREGROUNDING FOLKLORE: A BRIEF HISTORY OF CHOPIN’S POLAND……................8 Duchy of Warsaw………………………………………………………………………………….8 Congress Kingdom of Poland and Nicholas I……………………………………………………...8 November Uprising……………………………………………………………………................10 Great Emigration………………………………………………………………………................11 III. MOLDING A NATIONAL HERO: BIOGRAPHIES OF CHOPIN………………………………..13 Liszt……………………………………………………………………………………................13 Szulc……………………..……………………………….……………………………................16 Niecks. ……………………………….…………………………………………………………..16 Hoesick……………………………….……………………………….………………………….16 Tarnowski……………………………….……………………………….……………………….17 Noskowski……………………………….……………………………….……………................19 Kenig……………………………….……………………………….………………….................19 Zieliński……………………………….……………………………….………………................20 Chopin Monument……………………………….……………………………….……................21 Nazi Germany and Chopin……………………………………………………………………….22 Sikorski……………………………….……………………………….………………………….23 Returning to the Chopin Monument……………………………………………………………...27 IV. GENERIC PATRIOTISM: CHOPIN AND THE POLONAISE………………………….. ……….29 Chopin’s Polonaise—Ball at the Hôtel Lambert………………………………………….................29 History of the Polonaise……………………………………………………………………………..31 Adam Mickiewicz……………………………………………………………………………………33 Liszt on the Polonaise………………………………………………………………………………..35 Edward Baxter Perry………………………………………………………………………………...36 “Polonaise in A-Major, Op. 40 no. 1”……………………………………………………………….37 “Polonaise in C-Minor, Op. 40 no. 2”……………………………………………………………….40 The “Heroic” Polonaise…………….………………………………………………………………..41 iii A Song to Remember…………………………………………............................................................42 Musical Moments from Chopin……………………………………………………………………...43 V. THE COMMODIFIED COMPOSER: TWENTY-FIRST CENTURY USES OF CHOPIN……………………………………………………………………………………………..46 Chopin Benches…………………………………………...................................................................46 The “Funeral March”………………………………………………………………………………...50 Chopin Airport…………………………………………………………………………….................51 EURO2012…………………………………………..........................................................................52 Chopin Vodka…………………………………………......................................................................53 Chopin Watches…………………………………………...................................................................55 VI. CONCLUSION……………………………………………………………………………………...62 FIGURES………………………………………………………………………………….................65 BIBLIOGRAPHY…………………………………………………………………………………...78 iv LIST OF FIGURES Figure Page 1. Chopin Monument…..…..………………………………...……………………………................65 2. Destruction of Szymanowski’s Chopin Monument by Nazi Forces……………………................66 3. Annual Chopin summer piano concerts at Royal Baths Park…………...………………………..67 4. Chopin’s Polonaise—Ball at the Hôtel Lambert……………………………………...………….68 5. Opening Ceremony of EURO2012 in Warsaw…………………………………………………...69 6. A Bottle of Chopin Vodka…………………………………………..…………………………….70 7. The Opus 10 No. 12: “The Revolutionary” Timepiece…………………………………………...71 8. The Opus 10 No. 12: “The Revolutionary” Timepiece Backplate………………………………..72 9. Chopin Bench…………………………………………..………………………………................73 10. The “Chopin Route” Map on a Chopin Bench…………………………………………………...74 11. Inscription on Chopin Bench Located at the Holy Cross Church in Warsaw…………................75 12. Film Still from a Song to Remember……………………………………………………………...76 13. Still from Musical Moments from Chopin………………………………………………………...77 v ACKNOWLEDGEMENTS I would like to thank Dr. John-Michael Warner for being my thesis advisor and constantly challenging me to think, work through, and expand upon a host of thought-provoking content. You have been a role model for a young scholar looking to work his way into the field. I would also like to thank Dr. Gustav Medicus and Professor Albert Reischuck for also being dedicated members of my Thesis Committee. Your insight and feedback have proven to be invaluable in steering this thesis from its first draft to its current form. I should also congratulate everyone involved in this project on successfully training another M.A. student. Your wealth of knowledge, open attitude to sharing and discussing new ideas, and tremendous warmth of energy and spirits have enabled me to grow into the bright young mind I am today. Your generosity speaks volumes about the exciting Art History department that we are fortunate to have at Kent State University. I would like to thank my family. You have been with me since my initial leap into art history and have supported me throughout my personal and academic journey at Kent State University. Each of you showcase a dedication to being kind and giving humans as well as consistent sources of inspiration from your hard work and dedication to excellence. I love each of you and I am eternally grateful for having you by my side throughout this crazy life of ours. vi 1 CHAPTER 1 INTRODUCTION In this thesis, I will focus on the concept of “generic nationalism” through an examination of the Polish composer Fryderyk Chopin (1810-1849) and the ways he has been exhibited in Polish commercial, popular, political, and material cultures. Generic nationalism is the extension of a subject (in this case Chopin) into various spaces of Polish-national discourse that could not have been anticipated or expected.1 I have coined the phrase generic nationalism in an effort to express a host of historical and philosophical sources rooted in the discourses of state production. Contemporary society has come to understand Chopin through a host of creative lenses, especially Chopin as a musician and as an important symbol of Polish national heritage. Consider the range of visual images, commercial objects, and performative uses, such as Wacław Szymanowski's monumental sculpture of Chopin in Royal Baths Park in Warsaw (Fig. 1-3) and the academically inspired watercolor and gouache by the painter Teofil Kwiatkowski from 1859. (Fig. 4) Chopin took center stage at the 2012 opening ceremony of the Union of European Football Associations-sponsored (UEFA) event, popularly known as EURO2012 in Warsaw. (Fig. 5) Chopin’s image has even been extended into international luxury commodity markets. (Fig. 6-8) This accumulation of Chopinic gestures aids in understanding generic articulations of nationalism that are not reserved to geography alone but infiltrate a host of cultural guises that attempt to proliferate the idea of a shared national-collective. While I wish to explain how these various forms have institutionalized a mythological image of Chopin, I also hope to reveal that 1 Questions to consider in regard to the thematic strain of generic nationalism: How has Chopin become the desired object of Polish national discourse; What are the forms that Chopin is represented through; How is Chopin placed into a new context of state production; and how does this shape Polish national identity? 2 these very generalities have also been a means to connect people together. In other words, the malleability of Chopin as a symbol of Polish national identity has been extended into such a wide variety of different fields that in the twenty-first century taking a selfie can be an opportunity to interact with Chopin.2 Although my analysis focuses around detailing the unexpected ways in which Chopin has been decontextualized into the fabric of Polish national culture, my project is in no way a definitive statement on the composer.3 Rather, it is a guided analysis stemming from the ideas of a host of historians, philosophers, and musicologists dealing with discourses of state production and national identity. The conceptual basis of my project has been informed by varying articulations of the spaces of nationalist discourse. Included among them is Benedict Anderson’s (1983) formulation of “imagined communities,” or the pervasive trend in modern political discourse to cite a shared collective for which to advance the nation-state.4 Filmmaker, writer, and artist, Trinh Minh-ha’s (2010) eye-opening dive into the fluidity and liminal nature of identity construction proves instrumental as well.5 Through Trinh’s philosophy of the “elsewhere within here” Chopin exists in a liminal space, a generic nationalist space that is constantly evolving and destabilizing fixed definitions of national identity.6 Thereby Chopin as a trope can easily be inserted into spaces of 2 “Warsaw City Hall Brings Chopin to Life with Dedicated Tour and Navigated Interactive Apps in Poland,” MultiVu, accessed July 3, 2020, https://www.multivu.com/players/uk/8172551-warsaw-city-hall-chopin-tour-apps- poland/. 3 My project has been informed solely by the English language.
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