Polish contemporary music magazine

NO. 7(14), SEPTEMBER 2012 | ISSN 2080-4598

“I’m not convinced as to whether an artist should ever grow up...”

A conversation with Justyna Kowalska-Lasoń

Anna Domańska Photo: M. Filipczyk

CONTENTS: “ s an introverted personality type, Justyna Kowalska-Lasoń: The album Śpie- she exudes no ideas, on the wam nowoczesnego człowieka [The Modern 1-4 The fi rst monographic album of A contrary – the listener feels he Man I Sing], consists of compositions that Justyna KOWALSKA-LASOŃ has been shown just part of her secret, constitute the most important points in my deliberately limiting resources and creative journey so far. The order the works 4 Paweł ŁUKASZEWSKI’s “Symphony focusing on the power of expression”, have been arranged in is crucial in relation of Angels” in Riga Joanna Wnuk-Nazarowa said of the to the dramaturgy. It all begins with a huge young composer. Words of appreciation blast of a symphony orchestra (The Mod- 5-7 Zbigniew BARGIELSKI – for Justyna Kowalska-Lasoń from the ern Man I Sing). Next, through the sound a prestidigitator and a mystic mouths of music authorities are not of a mixed choir (Sanctus) we come to the uncommon. Polish critics point out the smallest group – a string quartet of a hushed 8-10 The inspiring Tatra Mountains exceptional maturity of her music, great character (A light exists in Spring). Then, the technical craftsmanship and individualism, power of the sound increases gradually 11-13 The operas of Zygmunt KRAUZE while the 27-year-old Justyna believes in again – from a string orchestra (Te frazy...Te the power of her creative intuition and pieśni...Te arie...) to a large symphony orches- 13 Wojciech KILAR’s fi lm music live in wins yet another prize in a composition tra (Obraz 1929 – Zdzisław Beksiński in memo- Kraków competition. riam). In the album’s booklet there are com- [U. Mieszkieło] puter graphics of my design. The abstract 14-15 “King Lear” – the new opera of graphic art completes the sound stream. Paweł MYKIETYN Anna Domańska: You have just finished working over your first monographic album. Can you reveal some details concerning it? continued on page 2

quarta • September 2012 { editorial } { interview }

Dear Readers, continued from page 1 more intense and less restricted. Improvisa- tion is conducive to risk-taking and restores Composers from several generations meet again on Let’s move back in time. The first important point the ease of self-expression. the pages of QUARTA. It would seem that not just in your hitherto composing career was the Obraz the difference in age separates these artists, but that 1929 [Picture 1929] for symphony orchestra for Some sort of structural frames are necessary, they are divided in everything. However, in their works which you were awarded the 1st prize in the Artur though. How do you manage to reconcile the and their words we can read the same refelctions Malawski Composer Competition in Rzeszów. improvisation with the formal requirements of about the sense of music and the same yearning, as The composition was also nominated to the 2009 a composition? Zbigniew Bargielski said, “to express the inexpress- OPUS Public Media Award and presented at the ible”. Violetta Przech was able to discuss Zbigniew UNESCO International Tribune of Composers in This seeming ‘opposition’ corresponds to the Bargielski’s wide creative personality with only three Lisbon in 2010. The opus was born from your fas- bipolarity of my character: a creative disar- pages. In her article, the author captured the aesthet- cination with Zdzisław Beksiński’s paintings. Music ray and a temporary indifference to the ics, technique and style of the composer in a glance, is the art of organising time while painting of space. course of actions on one side and on the oth- who this year celebrated his 75th birthday. How did you bring these two dimensions together er a strong need for precision and perfection, in your composition? for giving the performer precise guidelines. We introduced Justyna Kowalska-Lasoń in QUARTA My aleatoricism is always connected with three years ago as a debutante, a new face among Andrzej Chłopecki described my music as something specific and planned, however, composers publishing their works with PWM. Today, ‘incandescent paint-sounds’. In my compo- subtly enough to let the creative expression the young composer’s achievements are summed up in sition I tried to ‘show’ the listener around the of the performer stay unfettered and free. her fi rst monographic album, which became a pretext picture. Along with the development, they Therefore I turn off their defence mecha- to talk about her music and what is important to her ‘look at’ its subsequent parts, but never are nisms which come from the fear of making in the process of composing. Just like so many artists able to command a full view of it. However, a mistake and being received badly by the before her, Justyna appreciates mountain settings, where she rests and composes. The theme of the Tatra Mountains, taken once before in QUARTA on “In my personal opinion, the only and irrefutable the centenary of the death of Mieczysław Karłowicz, comes back this time in a broader sense. Stanisław sense of music results from its emotional and Będkowski writes about music by Polish composers inspired by the beauty of the highland landscape and spiritual dimension.” originality of highland folklore.

The second part of this issue is devoted to stage music. Counterpoint to Jacek Marczyński’s article about none of any specific pictures or events were listener. I had the opportunity myself, as Zygmunt Krauze’s operas is the announcement of ever an inspiration to me. For me, an inspira- an instrumentalist, to delve into the core of Paweł Mykietyn’s latest work, King Lear, which will tion is always a combination of impressions, improvisation, setting these two worlds to- be a major event during this year’s ‘Sacrum-Profanum’ both those past and those yet to come. My gether. I cannot see the moment of leaving festival in Kraków. King Lear, as all of Mykietyn’s work is rather ‘polyimagery’, some kind of the world of the aleatoric freedom and enter- works in recent years, raises a lot of emotion even stained-glass window that consists of many ing the sphere of specific form. I can see the before its release. What will the composer surprise us smaller elements – emotions related to what difference, but not a definite border. The pas- with this time? I’ve seen and remembered (sometimes sub- sage is natural and unnoticeable to me. U.M. consciously) of Beksiński works. Many im- ages, many feelings. Beauty and shock. Ug- Te frazy...Te pieśni...Te arie... [These phrases... liness and euphoria. Within the confines of These songs...These arias...] is a composition such a form, both an organisation of time which was commissioned by the Festival of World ANNIVERSARIES 2013 (in the predominant part by means of the Premieres in Katowice. This work was created in second notation) and of space is therefore the breakthrough point of your composer life – Edward BOGUSŁAWSKI 1940-2003 crucial. I’m reaching for powerful sounds, you had finished your studies and didn’t know how Joanna BRUZDOWICZ b. 1943 trying to ‘release’ the form leaving the per- your future career would develop. Is this state of Paweł BUCZYŃSKI b. 1953 formers quite a lot of freedom. uncertainty somehow reflected in the composition? Zbigniew BUJARSKI b. 1933 Andrzej CWOJDZIŃSKI b. 1928 In that composition you are using the aleatoric For me, the time I spent on this composition Henryk CZYŻ 1923-2003 technique. What significance does it have in your was the point of a clash between the creative Florian DĄBROWSKI 1913-2002 works? innocence and lightness of the student pe- Grzegorz FITELBERG 1879-1953 riod and the burden of responsibility result- Jan FOTEK b. 1928 I guess this is the most ‘unconstrained’ opus ing from entering wider performance circles. Irena GARZTECKA 1913-1963 performance-wise. The aleatoricism assumes A natural fear of the confrontation against Henryk Mikołaj GÓRECKI 1933-2010 a few forms. In some fragments I control the greatest appeared. The fear of being Adam KACZYŃSKI 1933-2010 only the pitch of the sounds and the approxi- compared, having the shortcomings and the Zygmunt KRAUZE b. 1938 mate duration of a phrase. However, I leave breaches of technique pointed out. I can re- Ryszard KWIATKOWSKI 1931-1993 the performers to decide on the amount of member a strong composer’s block, a painful Witold LUTOSŁAWSKI 1913-1994 repetitions and the shape of the rhythmic placement of each note of the composition. Tadeusz MACHL 1922-2003 layer. I also include glissandi, which intro- But it surely didn’t influence the whole of Witold MALISZEWSKI 1873-1939 duce the variables and impossible to predict the work. I set up a concrete border between Krzysztof MEYER b. 1943 harmonies into the aleatoric structures. It is the stress and uncertainty, the action and the Marta PTASZYŃSKA b. 1943 such a ‘waving microtonality’. All the alea- final effect. In the opus These phrases... These Ludomir RÓŻYCKI 1884-1953 toric events are one-off and one-value struc- songs... These arias... there are two calm arias Witold RUDZIŃSKI 1913-2004 tures. These are also ‘free’ structures which which I quote indirectly or directly in almost Jadwiga SARNECKA 1883-1913 last a few or a dozen or so seconds. The tech- every composition up to now. In the end, the Elżbieta SIKORA b. 1943 nique allows me to make fuller use of the work somewhat wrote itself – from the Zeit- Stanisław SKROWACZEWSKI b. 1923 performers’ potential. Because improvisa- geist, thought, intuition and divinity. These Mieczysław SOŁTYS 1863-1929 tion is an important element in the psycho- phrases... is a summary of the student years, Antoni SZAŁOWSKI 1907-1973 logical comprehension. A spontaneous ex- but not the anticipation of an adult creative Aleksander SZELIGOWSKI 1934-1993 pression influences the efficiency of actions life. I’m not convinced as to whether an art- Stanisław WIECHOWICZ 1893-1963 to a high degree, it causes that they become ist should ever grow up... Isn’t it beautiful to

2 quarta • September 2012 Computer graphics by Justyna Kowalska-Lasoń

keep a child’s freedom over the norms im- unnecessary, difficult and incomprehensible, Śpiewam Nowoczesnego posed by adults? The simplicity, unpredict- arousing greater vitality, the pleasant feeling Człowieka The Modern Man I Sing ability, inability to use the references ena- of vibrating, joy and a healthy euphoria. PNRSO, J. M. Florêncio (cond.) bling you to create what is truly your own Sanctus, Silesian Philharmonic Choir, language. In this composition I abandon the So far your visiting cards are, first of all, orches- J. Wolanin (cond.) ingrained frames of action for the sake of tra compositions. However, you also compose A Light exists in Spring something new. for smaller groups. Recently you have written K. Gawlas (electronics), Lasoń a few choral works – in terra in mari, Sanctus, Ensemble These phrases...These songs...These What is the significance of the self-quotation you Błogosławiony w snach, we łzach szczęśliwy. Does arias... mentioned earlier? this performance apparatus meet your expecta- AUKSO Chamber Orchestra, tions? M. Moś (cond.) I like to go back to what was before. To read Obraz 1929 afresh, to experience once again. I have this I feel both of the groups in a similar way. It is (Zdzisław Beksinski in memoriam), PNRSO, M. Klauza (cond.) inborn ability to remember events, gestures, such a symphonic nature of the choral, satu- Śląskie Tow. Muz. STMCD07, 2012 smells, conversations and the emotions con- rated with spirituality and divinity. It is full nected with them. This natural need be- use of the number of voices, frequent oper- comes visible in my compositions too. The ating with tutti, even in piano. Such an ap- EPERTOIRE quoting happens directly being a clear and proach towards the choral texture becomes ECOMMENDATIONS untouched reflection of ideas from the earlier visible in the score – it’s full, large, intense! R works or it involves a natural change result- A huge sound world for a choir. Loaded, but ing from using a different instrumentation. not overloaded. I need to watch that! Using Obraz 1929 [Picture 1929] It also happens that I consciously deform the the choral performance apparatus I can re- (Zdzisław Beksiński in memoriam) quoted material, elaborate or modify it. And lease the element of the divine spirituality for symphony orchestra (2008), 14’ here I would indicate the trail of looking for that is in me! I sense the choral nature to 3333-3331-batt(3-5 esec)-pf-archi ‘the aria nature’ in nearly every single work be integral with religiosity. However, it isn’t Premiere: 26 Sept 2008, Rzeszów after 2009. I have discovered some unknown religiosity to ‘show-off’. My music is about Rzeszów Philharmonic Symphony Orchestra, to me before harmonic and emotional qual- an intimate religiosity, the quiet, focused M. Pijarowski (cond.) ity in arias. The quality resulting first of all and personal one. It is a prayer to your own 1st Prize at the A. Malawski Composition Competition from a simplicity, which I had previously Creator, unspecified, indescribable and not in Rzeszów in 2008; Nominated for the Polish Public been deadly afraid of. laboured with institutionalization. Media OPUS Award 2009.

In The Modern Man I Sing, do you also refer to Many times you have emphasized that you are Śpiewam Nowoczesnego Człowieka your previous compositions? against composing music on the basis of compli- / The Modern Man I Sing (2011), 8’ cated theoretical constructs. Therefore, according 0000-4441-batt (7esec) cel ar-archi This opus refers to the earlier concepts, to you, what should be the basis of the creative Premiere: 26 March 2011, Katowice among others, through connecting the mul- process? PNRSO, J. M. Florencio (cond.) tifragmentariness in the strict singlefrag- mentariness. I also consistently use a unified For me, the most important is the power of These phrases... These songs... These arias... system of the accidentals (I constantly use intuition. It gives sense to what I create. It for strings (2009), 15’ hash for F, G and C sharps or Bemolle for E introduces an element of indeterminacy, un- Premiere: 29 March 2009, Katowice and B minor). This way of notation contrib- predictability and freshness. In the further AUKSO Chamber Orchestra, M. Moś (cond.) utes to the unification of the intonation of all stages of working over a composition the my works. The consequence of applying this technique awareness also plays a great part, ...dotykam gór, a one dymią... / ...I touch solution is also my leaving the classical har- of course. However, it doesn’t impose any ra- the mountains, and they smoke... monic inclinations. Everything sounds here tional constraints on me. Contemporary mu- for prepared solo flute (2011), 9’ and now, doesn’t wait for resolution. How- sic these days is very often confined within Premiere: 2 March 2012, Katowice ever, surely what’s new, is the way of me the frames that are strongly intellectual and R. Sojka (flute) understanding my music myself. It’s about I’d prefer to avoid that. In my personal opin- Distinction at the 9th T. Ochlewski’s Composition arranging and giving the music a new sense, Competition in 2011. eliminating the theoretical nature which is continued on page 4

quarta • September 2012 3 { interview } { news } continued from page 3 Gergiev conducts Szymanowski ion, the only and irrefutable sense of music results from its emotional and spiritual di- All four of Karol Szymanowski’s mension. The emotional and intuitive ele- symphonies were heard at this year’s ment should act superior... highly superior. Edinburgh International Festival perfromed by the London Symphony Orchestra what extent did your musical fascinations influence conducted by Valery Gergiev. this artistic point of view? One of the most important musical events of the My studies gave me the possibility of an Edinburgh International Festival were concerts intense contact with music of different ep- by the London Symphony Orchestra under the ochs and styles – from the ancient music, baton of Valery Gergiev on 16-19 August. The Valery Gergiev through the important to me madrigals of programme included all four symphonies by Karol Gesualdo and Monteverdi, Carissimi’s orato- Szymanowski, presented in consecutive concerts Welser-Möst: the Concerto for Orchestra and Pi- rios, Messiaen’s music and many contempo- with the four Brahms symphonies and both of the ano Concerto with soloist Lars Vogt. rary composers, to alternative music: Aphex Polish composer’s violin concertos in which the Twin’s, Dream Theatre, TOOL, Igorrr’s... But soloists were Leonidas Kavakos and Nicola Bene- The concerts formed part of a rich calendar of it seems to me that I’m not only shaped by detti. Polish cultural events that took place from mid- what I admire. Paradoxically it turns out that July to September during four festivals in the capi- the most educational for me is what I reject, The Festival public could also hear two pieces tal of Scotland organised by the Adam Mickiewicz what causes aversion. by Witold Lutosławski in brilliant performances Institute, the ‘Polish Arts in Edinburgh 2012’ pro- by the Cleveland Orchestra conducted by Franz gramme. And these days? How have your musical interests changed recently?

I wouldn’t say they’ve changed. They’re still evolving. They were never permanent. That’s Symphony of Angels in Riga my nature... I like to develop, transform and seek. It may not seem to be comprehensive, Paweł Łukaszewski’s Symphony No. 3, Paweł Łukaszewski’s new symphony consists of but I listen to my own music most often. Be- ‘Symphony of Angels’ had its world two movements. The texts were selected from ing with my own gives me pleasure: I feel an premiere in Latvia during this year’s the 1st and 2nd Books of Enoch (from the Old Tes- internal peace, I listen to myself from differ- opening concert of the 15th International tament Apocrypha), documents from the fourth ent perspectives all the time, I bury myself in Sacred Music Festival in Riga. Lateran Council (1215) and the fi rst Vatican Coun- my own feelings and visions. I have matured cil (1869-1870) and the Catechism of the Catholic to understand the power of a sincere state- The work was performed by the “Latvija” State Church. “The selection of texts was preceded by ment, of simplicity. It leaves the deepest trail Choir, who this year are celebrating their 70th an- a rigorous exploration and study of angelogical lit- in the listener if it’s saturated with an emo- niversary of existence, and the Latvian National erature and old apocryphal books”, said the com- tional element. A human brain isn’t able to Symphony Orchestra. Liene Kinča performed poser. “Angels are spiritual beings, or intangible, interpret all the insincere intricacies. They the solo part. The work was led by Maris Sirmais, having no body. They occur not only in Christianity are unnecessary, incomprehensible and ag- a conductor with immense achievements in the and Judaism, but also in Islam and ancient Iranian gravating to it, so it eliminates them. There- fi eld of choral singing, who has been artistic direc- religions.” fore I turn towards the simplicity of the state- tor of the Latvija choir since 1997. His repertoire Transl. L. Davidson ment. Simplicity, but not the banality! It is also includes Paweł Łukaszewski’s 1st and 2nd Sym- a thin line and I never would like to cross it. phonies, which were heard in Latvia last year. Symphony No. 3 ‘Symphony of Angels’ While listening to your music, do you sometimes The concert was held in St. Peter’s Church on (2010), 27’ feel like changing anything in it? August 28. Andrew Lloyd Webber’s Requiem was S solo-coro misto-3333-4331-batt cel ar pf-archi (7.6.5.4.3.) also in the concert programme. I never improve my works (not counting the adaptations for the needs of specific per- formances). The time of their creation has already passed and I shouldn’t destroy that. Let them stay in the form I envisaged for them initially. Each note had been the right one for me, exactly the one I wanted to place. My music is in harmony with me. And I will never change it. It is simply my SATYA.

Can you let us know what your next composing plans are?

In the near future I will measure myself against another commission – this time from the Silesian String Quartet – for a composi- tion whose first performance is to take place during the 5th Festival of the Worlds Premieres in 2013. A great group, a huge responsibility. I’m also placing the last notes in a new choral work... The summertime, on the other hand, is, first of all, a time devoted to my mountain ‘resting place’, where ...I touch the mountains, and they smoke... [...dotykam gór, a one dymią...]. Photo: A. Starks Transl. A. Ó hAlmhain The State Choir LATVIJA

4 quarta • September 2012 Musicus poeticus

OOnn ZZbigniewbigniew Bargielski’sBargielski’s wworksorks Photo: M. Gumiela

Violetta Przech of German culture, which was connected (‘Alpine’ String Quartet), 1976, Violin Con- to the composer’s stay in Austria] certo, 1976) and the composer still regulates 4. favouring form and emotional unequiv- the arrangements of pitches in his composi- The process of creation is a stage, on which ocalness largely based on the sonorist tions by means of this method. a spectacle realising our longing for the elu- treatment of the sound processes Zbigniew Bargielski’s original theory sive and even the unimaginable, for the desire undoubtedly enriches the spectrum of phe- to experience something that hasn’t yet been As observed in Bargielski’s compositions, nomena related to the sound centralisation experienced, for the elation, transfer, sus- the consequence of the acquired attitude is, in new music and it can be read as a sign of pension, the moment of departure, oblivion; on different levels of the music métier, the quasi-tonal thinking in the broad (in some forgetting and recalling the images, relying on tendency for precisely planned construc- universal sense) understanding of the con- them and at the same time the alienation from tions recognisable in the auditive reception cept of tonality (as meta-tonality). what is known, perceived and experienced, and, on one side, marked with the logic of The ‘brick’ form. Bargielski precisely de- is to be performed. But – so that we could the takes and on the other – the varieties of termines the form of every composition as experience all of those – we put our trust in lyricism endearing with finesse and astonish- early as during the pre-composing stage. He the artist who himself must go through simi- ing with the sensual sensitivity to a sound, identifies it, first of all, from the perspective lar illuminations, revelations and evocations. timbre and nuance which engage with the of the work’s perception (Lutosławski did Consciously (which is the art of imagination abundance of emotions... like-wise). Therefore, he adds value to the and the technique of using means of expres- psychological aspect of the form – since it sion), or instinctively (which is the deepest THE RATIO ELEMENT: THE CENTRE comes down to accepting certain strategies mystery and phenomenon of creation). The SYSTEM, LOGIC OF FORM of controlling the reception. At the heart of artist must be a prestidigitator and a mystic, The centre system. The crucial feature this strategy there is a full reduction of the a personification of the courage to present of his composing method and at the same distance between the artist’s intention and what has been realised and at the same time time a noticeable symptom of the primacy of the perceptive possibilities of a potential re- full of fear, self-reliant, a discoverer of what is logic in music organisation is the ‘centre sys- ceiver. Particularly important, according to sensed. A struggle, the clash between these tem’ elaborated by Bargielski. It is used for the composer is, the ‘installation’ of the opus elements is the most spectacular symptom arranging the pitches in a composition: “At in the receiver’s mind by placing the compo- of creativity. A longing – to express the inex- some stage I started researching the correla- nents of the form adequately in time. A com- pressible1. tions between sounds, the meaning of cho- position should be built of a fixed number sen sounds which constitute something like of sections each of which has its own char- THE AESTHETIC DOMINANTS an axis of different processes and of those acteristic. Simultaneously, the manner of Zbigniew Bargielski, when asked about [sounds] which are their complement – exposing the sections in time is extremely the aesthetic criteria which constitute his against them the role of those that stand out, important. The composer assumed the rule unique compendium and the constans value the centre ones, is becoming particularly cru- that an introduction of a section with new of creative thinking regardless of time, fash- cial. After a lot of consideration and practical material is possible only after a repetition ion and tendencies, therefore the sources of tests I elaborated (for my personal use) the (however, never literal) of the previous one possible interactions, specifies2: so-called ‘centre theory’, which principally or ones. This form, therefore, builds up two- describes the relations between sounds, di- dimensionally: by adding new sections and, 1. domination of thinking, which is a result viding them into the fundamental (centre) at the same time, varyingly: when the pre- of accepting the ‘Romanesque’ model of and the secondary (neutral). [...] Balancing viously exposed sections gain the status of aesthetics their proportions, allocating them to correct invariants in the context of consecutively ap- 2. precision, logic and clarity, which are the instruments, dynamics, texture, etc. – all of pearing variants. So, it is a segment-variable consequence of applying the above men- this is to serve the isolation of certain centres, form (called ‘brick’ by the composer), whose tioned model which could replace the old tonality; they model can be described by the following se- 3. complete departure from those artistic are deprived, however, of those correlations quence of letters: directions that give primacy to the sci- of the major-minor system. These centres are A, A1, B, A2, B1, C, A3, B2, C1, D, A4, B3, entistic processes in art; an example here a footing for various sound structures”3. The C2, D1, E, A5, B4, C3, D2, E1, F, A6..... would be the serialism and all of its de- first experiences connected to the practical The first attempts with this new way of rivatives which didn’t reflect on my crea- application of the ‘centre system’ go back ‘assembling’ form were carried out by Bar- tivity to any degree [let’s add: in spite of to the 1970s (e.g. Concerto for Percussion more than thirty years spent in the circles and Orchestra, 1975, String Quartet No. 1 continued on page 6

quarta • September 2012 5 { personality }

continued from page 5

gielski in a chamber composition Ein Zimmer (1972) for trombone, clarinet, cello, piano and reciter (of a Franz Kafka text), and the composition, which fully cor- responds to the assumptions of the segment-variable form (ac- cording to the above presented letter scheme – to the F segment) is Letter to Milena (2005) for so- prano, violin and piano (inter- estingly – it was composed to the text used earlier in Ein Zimmer). The rules of this form (in its dif- ferent variations) determine the construction of such important Bargielski’s compositions as, Concerto for Percussion and Or- chestra, Concerto for Violin and Orchestra, Trigonalia for guitar, accordion, percussion and cham- ber orchestra (1994), Requiem for

orchestra (1992) or String Quar- Photo: M. Gumiela tet No.4 (‘Dramatic’ String Quar- tet) (2006).

THE INTERMEDIARY SOUND, HENCE ing with a composer who actually plays the ist of the titles’5. Let’s mention a few: L’espace ON MERGING ARTS instrument), answered: attrapè [Caught Space], Versunkene Flamme The theatre-music form is also embraced [Sunken Flame], Tanz am Rande des Lichtes in the circle of Zbigniew Bargielski’s inter- I consider piano as a quite common instru- [Dance at the Edge of Light], Gemalte Wolken ests. He is an author of a few operas (e.g. In ment in the rich music collection. [...] On one [Painted Clouds], Vergessene-Gefundene [Lost a Little Manor, based on Witkacy), in which side, for example, the possibility of writing and Found], Le cristal flamboyant [Flaming he gets into the problem of the clash between something like a piano concerto excites me, Crystal], Zmyślenia i dziwostany [Fabrications word and music: “I mean my contemporary on the other – I’m not entirely convinced that and Wonder-states], Stilleben mit Rose [Still insight into opera and text [the composer it’s possible, without being cliché, to revive it life with a Rose], Klatka dla motyli [Cage for explains], in which there would be justifica- and strike significant impulses out of this mag- Butterflies], Schattenkreis [Circle of Shadows], tion that it is sung, not recited. I have been nificent three-legged animal. But yet, there Sonnenlieder [Songs of Suns], Garten der Lei- looking for a text like this and actually, have is something lighter – a toy, prank, false mir- denschaften [Garden of Passion], Das Schöne never found it.” ror reflecting the dignified face of a fatman. Zimmer [The Beautiful Garden]. The com- The composer’s interest in the music- No sophisticated play, but a skipping-rope poser, when asked about the meaning of the word relations, in which “the duality of ac- of a trouble-free approach. Playing, wearing titles, answered, emphasising that they don’t tions would be effaced, and a ‘unity’ would trainers, not platforms. Winking when look- have a programme-descriptive function, but be born” [this is how the artist describes the ing at the voluminous instrument producing constitute an expression of a ‘game’ he plays core of the relations] are expressed in song receivers’ emotions, martyr-like experiences with the receiver: (e.g. Night-Day, a cycle of five songs to the of those practising the scale and passage of poetry of Teresa Tomsi, 1995) and the two youths in love with music. [...] The salvage of It’s a gesture I make towards the receiver in largest of Bargielski’s works: a quasi-mass continuation of the shady business of com- order to arouse their imagination, to stimu- Sonnenlieder (Songs of Suns, 1983) and Im posing for piano can be [...] a conscious ‘anti- late perception. Throughout the titles, most Niemandsland4 [In No-man’s Land], 1989), in acting’ depicting, as if in a false mirror, the often of a surreal character and which are which Bargielski also looked into the prob- hitherto achievements of creativity for this a cluster of sometimes mutually exclusive lem of dimensionality of music. instrument. concepts I intrigue the listener, but without Another important and extremely interest- showing them a concrete and real path they ing trend in Bargielski’s creativity, electronic Zbigniew Bargielski has realised this are supposed to follow towards the opus. [...] music, stems from the inspiration by graphic postulate in a few piano compositions, par- And apart from that – let the listener muse art. Among its main representations one ticularly representatively in Panopticum for over the title, its meaning, its possible relation could mention Muzyka Linii nieskończonych piano four hands (1987). The Scherzo (scher- to the music they are going to listen to. It is [Music of the Infinite Lines] (1992), which zo-musicale – according to the composer’s something resembling oiling an engine before is a music interpretation of Wacław Szpa- assumption) plays with the convention; the starting6. kowski’s Linie nieskończone [The Infinite intertextuality (Bargielski quotes fifteen well- Lines], Mutacje ‘92 [Mutations ‘92] consti- known works from the history of music), in- ON STYLE, tuting a sound transposition of a graphic strumental theatre with elements of parody, AN ATTEMPT AT DEFINING IDIOM of metal nets by Wojciech Krzywobłocki; or grotesque and irony – this is the set of artistic It doesn’t seem to be possible to find the multimedia project Shrine for Anonymous means constituting the composition. one stylistic category that would manage to Victim (1999) created with a graphic artist, cover and accurately characterise Zbigniew Tadeusz Mysłowski for the State Museum in TITLES OF WORKS Bargielski’s creativity. For in this music there Majdanek. Even in this domain of creation the com- are legible references (more or less direct) poser surprises with imagination; attracts to the tradition heritage, styles, aesthetics WINK – ON COMPOSING FOR PIANO and intrigues. The ability to juggle with of various provenances, which, as might be Zbigniew Bargielski, when asked about word, poetic intuition for word, philosophical assumed, give evidence (to some degree) the meaning and possibilities of exploiting thought, spite and sometimes provocation – of Bargielski being under the influence piano in composing (especially when we these characteristics of a creative personality of specific artistic tricks, specific aesthetic take into account the fact that we are deal- impel one to call Zbigniew Bargielski an ‘art- paradigms, e.g. Impressionism (Trigonalia,

6 quarta • September 2012 { personality } EPERTOIRE Traumvogel [Dreambird, 1980]), Expressionism tures’ along with their systematics and the seg- R ECOMMENDATIONS (Im Niemandsland oratorio), Neoclassicism (Sie- ment-variable form (it sounds terribly scientifi- dem Studiów [Seven Studies], 1957 or Sonatina cally!), which allows me to build works ration- Im Niemandsland for piano, 1959), 2nd avant-garde (especially the ally, to my compositions. It seems to me that Oratorio (1988, 2012) elements of sonorism and aleatoricism, treated that both spaces, especially the ‘centralism’ can A Bar solo-2Rec-coro misto-222(+sxf)0-4331-batt by the composer, above all, as resources of use- bring in a characteristic element, which differ- (2esec) 2keyb chit el. ar-archi ful technique) or postmodern music (Le temps entiates my music from the rest. I guess I will Premiere: 28 April 2012, Wrocław qui n’est plus String Quartet No. 5 and Panopti- probably lack the time to do what I would like A. Zubel (mezzosoprano), P. Ostapenko cum). Yet, at the same time – “Zbigniew Bargiel- to do. Not in the quantitative sense, but rather (baritone), B. Krawczyk, A. Święs (reciter), ski’s music is a very distinct phenomenon” [A. the aesthetic, in the sense of internal develop- A. Bauer (violoncello), C. Duchnowski (compu- Chłopecki], distinguishable, regardless of the ment... [...] ter), Wrocław Philharmonic Choir, W. Sirenko period that given compositions were created, (cond.), PNRSO, S. Bywalec (cond.) also, regardless of different possible stylistic I can say that at the beginning there was a cer- connotations. Therefore, the following ques- tain amplitude of development, then, a sudden W małym dworku [In a Little Manor] tion can be asked: which elements produce break, a crisis, and only later building a new line Opera in 3 Acts (2nd version) (1979), 90’ the new quality that causes an impression of from scratch, a line, which I hope, is an ascend- 2S 1MS 1A 2T 1Bar. 1B solo-2Att -333(+1sxf)3-3331- distinctness, works for the benefit of a stylistic ing one.” batt (5esec) cel ar chit el. arm el. pf-senza archi idiom, what distinguishes this music from the Premiere: 10 June 1981, Wrocław, rest? T.A. Zieliński in a letter to Zbigniew Bar- Bargielski still remains a seeking artist, Państwowa Opera gielski wrote: “Your music DISTINGUISHES I would say ‘permanently insatiable’, and R. Satanowski (cond.) itself [T.A. Zieliński’s emphasis] by not only the moreover: overcoming the barriers of his own remarkable beauty of sound (a beauty ‘for the rigours, not susceptible to routine. In his re- W kręgu / Im Kreis ear’), but also by its expression which is firmly cently composed works (e.g. Non Omnis... for for soprano, alto, baritone, bass and chamber atmospheric (and this atmosphere rivets and chamber ensemble) I can see the attempts at ensemble (1969), 15’ mesmerises), great subtlety and culture, not to departure from the ‘brick’ form, some kind S A Bar solo-220(+1sxf)2-0000-chit el. arm el.-archi mention the elegance of the metiér. Another of asceticism of means, and along with that (0.0.2.2.1) thing that I can strongly relate to in it is that the – greater and greater sophistication of mood, Text: A. Patey-Grabowska [Pol., Ger.] intervals and harmonies play an important part emphasising the expression (however, with- Cat. no. 7737 in it – they are expressly selected in spite of the out any traces of aggression...). neutral sound masses which are usually shaped Transl. A. Ó hAlmhain ...i zapłoną oboje, a nikt nie ugasi [...and in contemporary scores”7. It would seem that they will both flame up and no one will Bargielski has achieved that which cannot be 1 Zbigniew Bargielski said on March 1st 2012 in the suppress it] overstated in composing: the element of har- Feliks Nowowiejski Academy of Music in Bydgoszcz for string ensemble (1978), 15’ mony, interaction, correspondence (intuited?), during the celebration of his 75th birthday. 0000-0000-archi (8.0.4.3.1 ad lib.) or maybe – the specific ‘tension’ between the 2 Zbigniew Bargielski’s statements quoted in this set of the technical means and their ability (sus- article come from conversations with the author, Espace attrapé ceptibility) to generate the so-called higher aes- carried out from 2005 to 2012. for symphony orchestra (1974), 17’ thetic sensations between the technical level (so 3 Ptak ze snów [Dreambird], Zbigniew Bargielski 404(+2sxf)4-4440-batt (7esec)-archi (0.0.8.8.8) the style) and emotion, which seems to ‘rule’ in answers Violetta Przech’s questions, “Ruch Mu- his compositions, to take its place over the ratio zyczny” 2006, no. 16, p.12. Parady [Parades] element, plans, projects and strategies, which 4 The premiere of the 2nd part of Im Niemandsland for symphony orchestra (1965, 1970) prompts appropriate strategies and technolo- in Poland took place on 28 April 2012 in Wrocław I: 443(+3sxf)3-4441-batt(5esec) 2/3pf-8cb; II: gies, suggests and determines (first of all with within the confi nes of the Festival of Contemporary 343(+3sxf)3-4441-batt(5esec) 2pf-8cb participation of intuition and the artist’s imagi- Polish Music ‘Musica Polonica Nova’. Sonnen- nation). lieder, however, has never yet been performed in Portret z pamięci [Portrait from Memory] Poland, although its successful fi rst performances for strings (1982), 12’ TOWARDS SELF-DETERMINATION were held in Austria (1983 and 1994). Let the artist speak: 5 The description by Dorota Szwarcman, Musica Concerto for Percussion and Orchestra Polonica Nova, “Ruch Muzyczny” 1988 no.8, p.7 (1975), 14’ From time to time I wonder what my music 6 Ptak ze snów [Dreambird], Zbigniew Bargielski batt solo-444(+1sxf)4-4441-batt (3esec) cel chit.el. means to me and to others. Of course, ‘self- answers Violetta Przech’s questions, “Ruch Mu- arm.el. pf-senza archi determination’ is a very difficult issue, because zyczny” 2006, no. 16, p.12. various conditions of ‘self-evaluation’ come into 7 Tadeusz Andrzej Zieliński, [from a letter to Concerto for Trumpet and Orchestra play. It can be done in the context of chronol- Zbigniew Bargielski], Warszawa, Sept 29th, 2005 (1991, 2005), 15’ ogy, comparing your earlier artistic attempts to tr solo-434(+1 sax)2-4441-batt (4esec) pf key chit el. the actual, you follow the way which was passed ar-archi (0.0.0.0.6) Zbigniew Bargielski from the first serious composing trials, remem- Music of Our Time Premiere: 20 April 2007, Katowice ber the ‘submissions’ or ‘dependencies’, measure Concerto for Violin and Orchestra; W. Heinrich (trumpet), PNRSO, R. Silva (cond.) the output by a percentage of realised intentions Trigonalia; Requiem or reaching – or not – certain significance on the W. Wiłkomirska (violin), K. Bargielska Violin Concerto (1975), 21’ (guitar), Z. Koźlik (accordion), ‘art market’. On one hand we are aware of those vno solo-444(+1sxf)4-4441-batt (3esec) cel chit arm Polish Radio Symphony Orchestra, issues quite well, because who can know their PNRSO, W. Michniewski (cond.) pf-archi (0.0.4.4.6) artistic curriculum better than the artist them- Polish Radio CD 080, 2006 selves? On the other, plunging into your own String Quartet No. 1 (‘Alpine’ String world, often with a fairly limited perspective, de- Zbigniew Bargielski Quartet) (1976), 14’ String Quartets prives the ‘self-determination’ even the pretence Cat. no. 8114 Quartet No. 1 ‘Alpine’; Quartet No. of being apart from subjectivism. [...] 2 ‘Spring’; Quartet No. 3 ‘Still Life with a Scream’; A Night of Farewells; String Quartet No. 2 (‘Primaverile’ String At some stage I lost the compass, which luckily Quartet No. 4 ‘Burning Time’; Quartet Quartet) (1980), 16’ had been leading me through the ‘innocent’ early No. 5 ‘The Time That’s Passed’; Cat. no. 8697 years of the ‘musical delight’. I have recovered Quartet No. 6 ‘Dramatic’; Through the Looking Glass it back with great difficulty, starting nearly from Silesian String Quartet; M. Andrysek String Quartet No. 3 (‘Still Life with zero. As an achievement, I consider introducing (accordion), R. Widaszek (clarinet) a Scream’) (1986), 22’ (I don’t dare to say ‘inventing’) the ‘centre struc- CD Accord ACD 173, 2CD, 2012 Cat. no. 8983

quarta • September 2012 7 { inspirations } Photo: K. Knapik / knapo.net The mountains and the highlanders’ folklore in Polish music of the 20th century

Dangerous, wild and beautiful, mountains have been fascinating people ever since the dawn of time. Their inaccessibility and isolation also cause that the folklore of the inhabitants of the mountain regions in comparison to the folklore of the lowlands is always more interesting, original and uncontaminated by other influences. The Polish mountains are no exception and there is nothing surprising in the fact that they’ve already enchanted many artists. The evidence can be found in their biographies and works, inspired by the landscape, conduct and artistic specificity, predominantly of the Tatra Mountains and the surrounding areas (Podhale, Orawa, Spisz). Kasprowicz, Tetmajer, Orkan, Kurek, Gerson, the Witkiewiczs, Stryjeńska, Hasior, Karłowicz, Szymanowski, Kilar and Górecki – these are but a few names of the writers, painters and composers fascinated by either the autonomy, originality and richness of the sub-Tatra folklore or by the wild beauty of the mountains and most often, by both.

Stanisław Będkowski top or bottom, the ‘Lydian perfect fourth’). in Pamiętnik Towarzystwa Tatrzańskiego [The However, what is striking is that the melody Memoir of the Tatra Society], v. XII, 1888), is conducted in the minor key and harmo- however, the accompaniment added by the nised by, among other means, minor major author ‘improving’ the harmonics of the ‘ he highlanders’ appeared for the seventh chord. Moniuszko was the first com- melody significantly reduces the value of the first time in main-stream music scene poser who consciously tried to approach the collection. On the other hand it also certifies (both literally and figuratively) on the highlanders’ folklore and at the same time the fact that they observed significant dis- Tst 1 March 1794 when the first performance of the last, who probably had to do it without similarity between the original highlanders’ Wojciech Bogusławski’s operatic comedy The the knowledge of the original highlanders’ music and the music held in the functional Pretended Miracle, or Krakovians and Highland- music. system of major and minor. Ignacy Jan Pade- ers to the music of Jan Stefani took place in In the late 19th century, the significance of rewski also collected the Podhale melodies Warsaw. Both in this work and also in the ad- the Tatra and Podhale increases rapidly. Pre- for his personal use – his Album from the Tatra aptation of this composition, which was cre- cursors of mountaineers; researchers, artists Mountains for piano four hands (1884) is a col- ated 22 years later, “a drama plaything with and numerous tourists arrive here. The echo lection of quite free, ‘improving’ the original, songs” – Karol Kurpiński’s The Superstition, or of these subjective impressions of the visit to paraphrases of melodies from the repertoire Krakovians and Highlanders, there was no con- the Tatra is such program music as follows: of a folk fiddler, Bartłomiej Obrochta. nection to the authentic folklore, because the Władysław Żeleński’s characteristic overture At the beginning of the 20th century, Za- artists hadn’t yet become acquainted with it. W Tatrach [In the Tatra] (1868-70), the Tatra kopane has already established itself as the The highlanders in these operas are ‘aliens’ theme will reappear in his work in the op- Mecca of Polish artists – ‘everyone’ comes for – simple, and even oafish newcomers from era Janek (1900); or Zygmunt Noskowski’s a longer or shorter period of time, some of far-away lands. overture Morskie Oko (1875), also an opera them live here, e.g. Mieczysław Karłowicz, In the beginning of the 19th century the W Tatrach (1888); the song Pozdrowienie Tatr a composer, but also a famous mountaineer, first information on the original architecture, [Regards to the Tatra] (1900) – both devoid skier and precursor of the mountain res- clothing, music and rituals of the highland- of direct illustratory nature and references to cue in Poland. In his musical compositions ers comes to light. In spite of this fact, there folklore. At the same time, the first gatherers it is hard to indicate direct inspirations by is scant reference to highlanders’ folklore and researchers of folklore, including the fa- the Tatra, all the more so with highlanders’ in Moniuszko’s Halka (1948-58) – the ‘High- ther of Polish musical ethnography – Oskar folklore, however his composer commentar- landers’ Dances’ are such only in name and Kolberg, arrive in the sub-Tatra region. Apart ies suggest that at least some of the poems the closest to the folk original is the melody from Kolberg, the folk melodies of Podhale (e.g. Eternal Songs) constitute a reflection on of the Piper from the 4th act (bagpipes per- were also written down by Jan Kleczyński the idealised, Tetmajer-ish way of experienc- fect fifths, melody in a major third duo, (Melodye zakopiańskie i Podhalskie [The melo- ing the mountain escapades (melting in the ornaments describing a sound from the dies of Zakopane and Podhale] published Omni-existence etc.). A similar theme is also

8 quarta • September 2012 EPERTOIRE R ECOMMENDATIONS

GRAŻYNA BACEWICZ (1909-1969) Violin Concerto No. 3 (1948), 21’ vno solo-3322-4331-batt (3esec) ar-archi

JAN EKIER (*1913) Suita góralska [Highlander Suite] for chamber orchestra (1935), 16’ present in some of the composer’s songs, e.g. cle, 1921) and he also stylised them masterly. 1110-0000-batt (1esec) pf-archi to Tetmajer’s words. Karłowicz’s premature Undoubtedly, the crowning of this trend in his death in the avalanche under Mały Kościelec in creative life is the ballet-pantomime Harnasie MICHAŁ KONDRACKI (1902-1984) February 1909 forever linked his name with the (1923-31), in which the highlanders’ music (vo- Little Mountaineers’ Symphony ‘Pictures Tatra. cal and instrumental), while not losing much on Glass’ In the periods of Young Poland and the of its originality, was melted with the modern for 16 instruments (1930), 16’ Interbellum the references to the highlanders’ sound language of Szymanowski. Additionally, 2231-1110-archi (1.1.1.1.1) music in the works of the professional Polish the composer didn’t limit himself to quotations composers are not a rarity, they are limited, or merely stylisation of the melodic material, WŁODZIMIERZ KOTOŃSKI (*1925) however, to the use of the most external char- but he also imitated the highlanders’ textural Ta ńce góralskie [Mountaineers’ Dances] acteristics of the highlanders’ music (the Lydian solutions (parallelisms in the multivoice sing- (1950), 14’ perfect fourth) or to ‘civilising’ or ‘improving’ ing) and the band’s play in the typical sound 2222-4231-batt (5esec)-archi it. Among the compositions of such themes one configuration (first violin, second violin, cellos could note: Feliks Nowowiejski’s ballet King of and double bass), he also introduced some folk JAN MAKLAKIEWICZ (1899-1954) the Winds (The Tatra) op.37; an opera of Bolesław performing styles (e.g. falling glissandi finish- Violin Concerto No. 2 ‘Mountaineers’ Wallek-Walewski Jontek’s Revenge (1924); Gie- ing the phrase). The connection to the origi- Concerto (1952), 25’ wontowa baśń [Giewont fairy tale] for male choir nal folklore is enhanced in Harnasie with the vno solo-2222-4230-batt (4esec) ar-archi (1924) and Na graniach Tatr [On the arêtes of dialectal text, the folk stylisation of the dancers’ the Tatra] for mixed choir (1929); Michał Kon- costumes and the choreography. Less directly, ARTUR MALAWSKI (1904-1957) dracki’s The Little Mountaineers’ Symphony ‘Pic- however probably more successfully, Szyman- Wierchy [The Peaks] tures on Glass’ for a group of 16 soloists (1930); owski filled his Mazurkas for piano (1925) with Ballet-pantomime in 5 parts and an epilogue Witold Friemann’s opera Giewont (1934), later, the spirit of the Podhale music, managing to (1944, 1952), 45’ additionally, Suita podhalańska [The Podhale elaborate in them the national style of Chopin’s Libretto: A. Malawski after Jan Mazur’s folk Suite] for solo baritone and string orchestra distinction. The echoes of highlanders’ music poems [Pol.] (1946); Jan Ekier’s Highlanders’ Suite for orches- can also be heard in the String Quartet No. 2 S T Bar solo-coro misto-3333-4331-batt (4esec) cel ar tra (1935 and 1937); Taniec góralski [Highlanders’ (1927), Symphony No. 4 (1932) and String Con- pf-archi Dance] for piano (1938) and Adam Sołtys’ High- certo No. 2 (1933). landers’ Suite (1938). After the Second World War, Artur Malaw- WOJCIECH KILAR (*1932) Karol Szymanowski’s Variations on a Polish ski referred to Harnasie in terms of content in Krzesany Folk Theme op. 10 (1900-1904) could also be add- Wierchy [The Peaks] ballet-pantomime for solo Symphonic Poem (1974), 17’ ed to the above mentioned compositions. The voices, choir and orchestra (in the process of 4444-4440-batt (12esec) org (ad lib.)-archi (6.6.5.5.8) theme was taken from Kleczyński’s publication, being drafted at the end of the war, the work because the composition doesn’t have much was recomposed during 1950-52). Musically, Kościelec 1909 in common with the latter ‘highlander’ works The Peaks are significantly different from Har- Symphonic Poem (1976), 18’ of the creator of Harnasie. Later Szymanowski nasie, because Malawski doesn’t quote any 4444-4441-batt (6esec) 2ar pf-archi (8.7.6.5.4) became acquainted with the original music of original melodies in his work but only stylises Podhale, during his subsequent visits to the them making use of the scales, motifs of the Siwa mgła [Grey Mist] Tatra and only then did the live music make highlanders’ ‘notes’ and metro-rhythmic pat- for baritone and orchestra (1979), 18’ a huge impression on him. In the article O muz- terns. Bogusław Schaeffer thought very highly Bar solo-0000-4330-batt (4esec) ar pf-archi (7.6.4.6.10) yce góralskiej [On the highlanders’ music] (1924) of Malawski’s composition, he even stated that Text: Pol. he wrote: “I would desire that the young gen- “the composer outgrew his great predecessor, eration of Polish musicians understood what Harnasie’s author”. The highlanders’ inspira- Ricordanza per archi (2005), 12’ kind of richness bringing our anaemic music tions are also visible in other works of Malaw- back to life is hidden in this Polish ‘barbarity’, ski, for example, the Mountaineers’ Triptych for Orawa which I have finally ‘discovered’ and compre- piano (1949, version for small orchestra 1950). for chamber string orchestra (1986), 9’ hended – for myself.” For a twenty year period after the war, com- The result of Szymanowski’s ‘discovery’ posers other than Malawski also created works KAROL SZYMANOWSKI (1882-1937) were a few compositions from the so called na- inspired either by the mountains or the high- Harnasie tional period of his creative activity, in which landers’ folklore, e.g. Grażyna Bacewiczówna – A Tatra Highland Ballet in 1 act and 2 tableaux, the composer used both the quotations from Violin Concerto No. 3 (1948); Tomasz Kiesewet- Op. 55 the original Podhale melodies (for the first time ter – Krzesany w stylu góralskim [Krzesany, the (1931), 40’ he introduced the ‘Sabała note’* to Święty Fran- T solo-coro misto-3333-4331-batt (5esec) 2ar pf-archi ciszek [St. Francis] song from the Słopiewnie cy- continued on page 10

quarta • September 2012 9 { news } { inspirations } At the Source continued from page 9 highlanders’ style] for Symphony Orches- of Inspiration tra (1949); Symphony No. 2 (1952); Witold Friemann – the Podhale Suite cantata (1950); – Harnasie and Włodzimierz Kotoński – Mountaineers’ Danc- es for symphony orchestra (1950); Jan Mak- Krzesany in lakiewicz – Violin Concerto No. 2 ‘Mountain- eers’ Concerto (1952); Wawrzyniec Żuławski Zakopane – Wierchowe nuty [The Peak Notes] for mixed choir and violin (1955). A unique place in An open-air dance performance to music the group belongs to Jerzy Młodziejowski, by Karol Szymanowski and Wojciech Kilar who was fascinated by the Tatra not only as was held on the Plac pod Wielką Krokwią a composer, but also as a mountaineer and in Zakopane. The show was presented in geographer. He composed a lot of works on the jubilee year for Wojciech Kilar’s 80th mountain and highlander themes for dif- birthday, and the 130th anniversary of the ferent ensembles, however, these are not birth and 75th anniversary of the death of widely-known compositions. Among the Karol Szymanowski. more significant, it’s worth mentioning: Legen da o Janosikowej sławie, miłości i śmierci Inspired by legends of bandits of the Tatra [The Legend on Janosik’s Fame, Love and Mountain and Podhale traditions, the ballet- Death] for solos, boys and male choirs and Serge Lifar as Harnaś, Paris 1936 pantomime, Harnasie, by Karol Szymanowski symphony orchestra (1943); Rapsodia Oraw- and ballet study to Wojciech Kilar’s Krzesany ska [Orawa Rhapsody] for symphony or- and opponents. Among Kilar’s works, there given in unusual surroundings at the foot of the chestra (1944); Orawa for symphony orches- are another three compositions that refer Tatra Mountains accompanied by a beautiful tra (1947); Tatrzańskie drzewa [The Tatra Trees to the mountain and highlander themes. play of light made a beautiful spectacle, which suite] (1952); The Podhale Songs for tenor and Kościelec 1909 (1976), whose title corresponds took place on August 4 in Zakopane. Both symphony orchestra (1956); Hey! Follow me to the place and time of Karłowicz’s death, is pieces were heard in excellent performances: into the Tatra for male choir and symphony a free, poetic sublimation of the mountains’ the recording used for the spectacle was of the orchestra (1960); Wysoko z przełęczy [From loftiness kept in the spirit of his poems or National Polish Radio Symphony Orchestra con- a High Pass], a symphonic poem for flute Żeleński and Noskowski’s overtures, since ducted by Antoni Wit (Krzesany, 1995) and the and symphony orchestra (1962); Tańcowali the composer doesn’t reach to the folklore Warsaw Philharmonic Symphony Orchestra and zbójnicy [The Brigands Danced] overture (lack of quotations), neither is the stylisation Choir under Kazimierz Kord (Harnasie, 1994). (1963); Ciemnosmreczyński las [The Ciemny very clear, and is certainly peripheral. Orawa Interspersed between the recorded music was Smreczyn Forest] for clarinet and symphony for string orchestra (1986) is one large styli- live music performed by the Trebunie-Tutki band orchestra (1963); Samotna Limba [A Lonely sation of the performance of a highlander and singers. Swiss Pine] for cello and symphony orches- band, and the song Grey Mist (1979) is actu- tra (1963); Od Orawy do Spisza [From Orawa ally an elaboration (harmonisation) of a folk to Spisz] for solo voices, choir and string or- original in which the composer added an or- chestra (1964); Elegy after Janosik’s Death for chestra accompaniment to the highlanders’ tenor and symphony orchestra (1965). melody. Henryk Mikołaj Górecki was also fas- In Kilar’s case, his courage to treat folk cinated by the Tatras and Podhale, to such music as a source of inspiration in the times a degree, that when looking for shelter of the avant-garde artistic ideology domina- against the turmoil of living in Silesia, he tion in Poland should be emphasised, espe- nearly settled there permamently. However, cially if one takes into account the discred- he considered the highlanders’ music too iting of the folk stylisation as well as of the one-dimensional as a source of inspiration, direct programming as authentic means of therefore the traces of the Podhale folklore expression (the authorities’ recommenda- are barely present in his music (Concerto for tions as to connect the artistic music with the

Photo: Kronos Media Harpsichord (or Piano) and String Orchestra, op. art and life of ‘the people’) during the soc- 40, 1980; String Quartet No. 1 Dusk is Falling, realism. Therefore, when everyone thought The choreography was prepared by Kaja Op. 62, 1988). that the time for these sort of anachronic mu- Kołodziejczyk. The artist succeeded with great What Harnasie was for the Interbellum sical solutions had already past, Kilar has re- success in combining traditional dance and high- period is comparable to the significance of introduced it to the artistic music, genuinely, landers’ costumes with modern dance – Tatra Wojciech Kilar’s Krzesany for symphony or- while not resigning from the specificity of bandits danced breakdance and fought in the chestra (1974) to the last decades of the 20th his own musical language. What’s more, he style of Eastern martial arts. An outstanding en- century. If the above mentioned artists re- reached to the folklore, which, as a source of semble was formed by dancers from the Polish tained their ‘highlander’ works in the non- inspiration, seemed to have been completely Dance Theatre, Poznań Ballet, Dance Theatre of avant-garde stylistics, Kilar, in his apothe- exhausted by Szymanowski. Silesia and the Baltic Dance Theatre. oses of the highlanders’ dance, intertwined The Tatra mountains, adamant, although Transl. L. Davidson original highlander melodies taken from demystified and trampled down by millions Stanisław Mierczyński’s collection Muzyka of tourists these days, are still a constant el- Podhala [The Music of Podhale] (published ement of the Polish cultural tradition, how- in 1932 with the Foreword by Karol Szy- ever, their highlander surroundings and the manowski) still in the context of avant-garde authentic living folklore are practically ceas- musical language (e.g. polyphonic clusters ing to exist. The fact that it is made use of and the aleatoric piece at the end). The com- in artistic works proves that it still may have position, ending with the repeated ostinato inspiring force which, perhaps, deflects the theme, performed vigorously in the style of death blow for now. a highlander band caused dismay in the au- Transl. A. Ó hAlmhain dience during the premiere, which took place * (trans. note) The Sabała note is a melody of at the ‘Warsaw Autumn’ festival, and divid- the Podhale highlanders, played by Sabała

Photo: Kronos Media ed musical circles into its fierce supporters (Jan Krzeptowski).

10 quarta • September 2012 { onstage } Word forms Music Zygmunt Krauze’s Operas

Unlike many contemporary composers who do it to varying degrees of success, Zygmunt Krauze doesn’t try to create his own world and new rules in his operas. He respects theatre and its conventions. Exactly 30 years passed between Krauze’s first opera The Star (1981) and his fifth and for the time being last – The Trap (2011). They are different, but they have one crucial feature in common. “In all my operas word is the most important”, says Zygmunt aw Opera Krauze. “It generates the ł emotional character of the music, rhythm and tempo.” The Trap. Ewelina Pietrowiak (dir.), Wrocław Opera, December 2011 Photo: M. Grotowski / Wroc

Jacek Marczyński speech. This way, however, the composer re- pretation of text, music creates the emotional inforces the drama of the situation, empha- background. However, at the same time, sises the characters’ emotions. the composer remains loyal to his ‘unistic’ A MONODRAMA OF AN OLD ACTRESS After the first performance in Mannheim artistic ideals realised in the concert music. He entered the world of opera somewhat in 1982, The Star was staged in Theatre Na- They postulate for little variation of elements accidentally. “The director of the Universal tional de la Coline in Paris, Staatsoper in in his compositions and departure from the Edition publishing house in Vienna, Mr Al- Hamburg and the Teatr Wielki in Warsaw. In rule of contrasts and conflicts, the traditional fred Schlee, a great animator, eminent figure 1994 Krauze re-worked a version for female tension and climax. In Krauze’s operas, they in music and European culture, addressed voices, choir and symphony orchestra and take place in the word layer. me with the question would I like to com- this is the form that was produced by the Balthazar was created to a forgotten li- pose an opera for the National Theatre in Wrocław Opera. Eventually, in 2006, yet an- bretto which Stanisław Wyspiański, the most Mannheim,” Zygmunt Krauze recalls years other interesting version of The Star came into prominent Polish playwright at the turn of later. “The proposition was very attractive. existence, this time however, for solo female the 20th century, wrote for his friend, Henryk I knew Helmut Kajzar, who offered me his singer and music emitted from a computer Opieński. However, the music was never drama – The Star. We compiled the libretto which had earlier been programmed with composed. In the original the biblical story together. The staging of The Star in Man- the orchestra score. During the performance of the prophet Daniel and the annihilation of nheim, however, was a one-off adventure the soloist is covered by two cameramen, the Babylonian kingdom ruled by Balthazar for me; at that stage I was interested in sym- so the viewer observes the movements and was full of typically Polish patriotic referenc- phonic music and chamber concertos. At that close-ups of the title character on screens. es. After more than a hundred years, an op- point I didn’t precisely realise the elements This version of The Star was presented many era director, Ryszard Peryt, cleared the text of which constitute opera and are connected to times on various stages by the young singer, the nationalistic and liberation issues, added its production”. Helmut Kajzar’s The Star is composer and performer, Agata Zubel. fragments of another two of Wyspiański’s a monodrama of an ageing actress remem- works and the new libretto became of a more bering fragments of her former parts wish- A MORALITY PLAY IN A BIBLICAL universal character. At the threshold of the ing to establish this way who she actually COSTUME 20th century oppression and the struggle was, both in life and on the stage. Zygmunt Zygmunt Krauze spent the 1980s in against it were the most important concern Krauze composed a one-act opera for two so- France, where, among other activities, he of the Poles deprived of their country. How- pranos and two mezzo-sopranos and seven began a cooperation with the famous thea- ever, it is still an eternal and current topic, in- instruments (a tenor saxophone, trumpet, tre producer, Jorge Lavelli, creating music to scribed in the history of humankind, suffice percussion, accordion, electric guitar, violin many of his productions. That time became, to mention the Middle East conflicts, the lot and double bass). While staying faithful to as he admits, “a real school of theatre, mu- of the Kurds or the Tibetan people. the text, he applied a procedure which he sic in theatre, a school of stage and all of its Balthazar is an opera of an idea, while this would repeat in his future operas. Krauze elements”. It was also instrumental to his genre of art, in its history, relied mostly on breaks the prosody of the text with music, opera creativity, whose new stage is set by action. Music can support human actions, the stress is placed on the weaker part of Balthazar, finished in 2001 for the Warsaw particularly feelings, it is much more difficult a word, usually on the first syllable. It may Chamber Opera. From then on, all subse- seem artificial and against the natural flow of quent operas are, first of all, a sound inter- continued on page 12

quarta • September 2012 11 { onstage } EPERTOIRE R ECOMMENDATIONS

Pułapka / The Trap Opera in 1 act (2011), 100’ Libretto based on the play by Tadeusz Różewicz: Grzegorz Jarzyna and Zygmunt Krauze voci soli-coro misto-2222-4230-batt (timp, gr.c., 2tmt, 2 gg, 2 ptti, tmbno, vbf, mbf) chit.el. acc ar pf pno-archi Premiere: 17 Dec 2011, Wrocław Opera T. Szreder (mus. dir.), E. Pietrowiak (dir.)

Iwona, księżniczka Burgunda / Yvonne, Princess of Burgundy Opera in 4 acts (2004-6), 90’ Libretto based on the play by Witold Gombrowicz: Grzegorz Jarzyna and Zygmunt Krauze 1S 2MS 2A 2CT 1T 1Bar 1B-2(picc)222Sax2-2210-batt(2esec) chitt el. fsm ar pf-archi Premiere: concert version: 20 Nov 2004, Theatre Sylvia Monfort, Paris; stage version: 29 Sept 2006, National Theater, Warsaw

Polish Radio Orchestra, A. Straszyński (cond.), Wielki – Opera Narodowa Photo: M. Górecki / Teatr M. Weiss-Grzesiński (dir.) Yvonne, Princess of Burgundy. Marek Weiss-Grzesiński (dir.), Teatr Wielki – Opera Narodowa

Gwiazda / The Star Chamber Opera, 50’ continued from page 11 because I believe in the power of the classical Libretto: Helmut Kajzar construction of Gombrowicz’s play.” for it to deal with ideas. Modern theatre pre- Krauze’s intention with Yvonne, Princess ver. 1 (1981) for 2 sopranos, 2 mezzo-sopranos, alto, fers fast action and constant variations of the of Burgundy is not to fight against the tradi- tenor-saxophone, trumpet, percussion, accordion, stage situations, whereas Balthazar is a static tional tastes of the opera audience. The mu- electric guitar, violin and double bass opus, some kind of a contemporary moral- sic, relying on a few stanzas, wafts slowly, Premiere: 7 Apr 1982, Nationaltheater Mannheim ity play which was dressed in a biblical cos- doesn’t shock with original harmonies, it D. Runnicles (mus. dir.), P. Rasky (dir.) tume. Zygmunt Krauze, however, composed encourages listening by its pastiche charac- [publ. Universal Edition] a work of transparent and clear construc- ter. Yet, it doesn’t constitute another attempt tion. And the music, having its own rhyth- to reread Gombrowicz’s drama. It’s a work ver. 2 (1994) for soprano, mezzo-soprano, orchestra, mic nerve, best describes the main characters standing in accordance with opera rules. choir and ballet – the blasphemous king Balthazar and the The composer assumed that it is enough to Premiere: 12 June 1994, Wrocław Opera prophet Daniel. squeeze king Ignacy’s court, which is domi- Z. Krauze (mus. dir.), S. Szlachtycz (dir.) nated by the rituals of gestures, dignified [unpubl.] THE COURT IN THE CORSET OF steps and meaningful looks, into the corset CONVENTION of the opera convention in order to show its ver. 3 (2006) for soprano, computer and 2 cameramen Zygmunt Krauze attaches great impor- falsehood. Premiere: 19 Jan 2006, Teatr Polski, Wrocław tance to his next opera Iwona, Księżniczka The second part of Krauze’s Yvonne is A. Zubel (soprano), C. Duchnowski (mus. dir.), Burgunda [Yvonne, Princess of Burgundy] by more interesting, it is when the music be- A. Makowiecki (dir.) Witold Gombrowicz, which is the unique af- comes dramaturgically expressive and the [unpubl.] termath of the cooperation with Jorge Lavelli. breath of death perceptible. Much earlier This director is a great admirer of the Polish that in Gombrowicz’s, the viewer will rec- Polieukt (2010) writer’s creativity, he contributed to the suc- ognise the fact, that the mysterious, taciturn Opera in 5 acts for soloists, chamber choir and orchestra cess of his plays on the French stage. Together Yvonne, who prince Philippe decided to Libretto based on Pierre Corneille’s “Polyeucte”: Alicja with Krauze they were planning to write an make his fiancé, demolished the court ritual Choińska and Jorge Lavelli opera to a different text of Witold Gombrow- so thoroughly that she has to die. Additional- Premiere: 20 Oct 2010, Warsaw Chamber Opera icz – The Operetta, but the intention, unfortu- ly, in the Warsaw staging the part of the main Warsaw Chamber Opera Soloists, Warsaw Sinfonietta, nately, was never realised. Somewhat as a re- character was given to an actress, which en- R. Silva (mus. dir.), J. Lavelli (dir.) placement Krauze created Yvonne, Princess of hanced the contrast between Yvonne and [unpubl.] Burgundy, whose concert version premiere the court. The extreme conventionalisation took place in the Theatre Sylvia Monfort in of Gombrowicz’s theatre by the typical opera Balthazar (2001) Paris, whereas the first staged performance means bestows completely different signifi- Opera in 2 acts for soloists, choir and orchestra occurred two years later during the Warsaw cance to the main character’s death. When Libretto basen on Stanisław Wyspiański’s “Daniel”: Autumn Festival. Afterwards, the production Yvonne suffocates on a fish bone, there is Ryszard Peryt entered the repertoire of the Teatr Wielki – nothing grotesque in it, unlike in the original Premiere: 7 Oct 2001, Warsaw Chamber Opera Opera Narodowa in Warsaw. text. This scene enters the opera tradition, in Warsaw Chamber Opera Choir, Warsaw Sinfonietta, Gombrowicz’s play, about the clumsy which there are many works with a similarly R. Silva (mus. dir.), R. Peryt (dir.) Yvonne who gets to the royal court where gloomy finale. [unpubl.] everybody treats her with contempt and disrespect in spite of which her very pres- THE SAINT FROM ARMENIA ence destroys the royal order, inspires the Polieukt [Polyeuctus], composed in 2010 producers. It allows them various interpreta- as a commission for the Warsaw Chamber tions. Zygmunt Krauze said before the War- Opera, is a work in which Zygmunt Krauze saw premiere of the opera: “I decided not appealed to the great dramatic tradition. It to interpret at all, but to present each of the was also created as a result of the coopera- characters literally, in the simplest of ways, tion with Jorge Lavelli, who, when staging following the word, according to my person- Corneille’s drama in the 1980s in Comédie- al understanding of this word and the situa- Française, commissioned the Polish compos- tion by the means of music. I took the path, er to write the music. It was his first theatre

12 quarta • September 2012 { onstage } job. More than a quarter of a century later Lavelli compiled Polyeuctus’s libretto and di- rected a spectacle which was performed by the Warsaw company in November 2011 in Theatre Capitol in Toulouse. The association of the French critics – Syndicat de la Critique de Theatre, de Musique et de Danse award- ed Zygmunt Krauze’s Polyeuctus its annual prize of ‘event of the season’ in France. Years earlier, when working on Comédie- Française’s commission, he endeavoured to make the music consistent with the action of Corneille’s drama. Polyeuctus is an au- thentic figure, he was an Armenian serving Agata Zubel performing The Star, Warsaw, July 2008 in the Roman army, died a martyr’s death in 259 unwilling to reject his Christian faith and was later canonised. In the drama thea- – with the participation of a choir. In general applies this procedure, which is known from tre, Zygmunt Krauze used, among others, though, the world of The Trap is as Tadeusz his previous operas, consciously, so that the the traditional Arabic oud, large conches Różewicz devised it. The composer preceded music wouldn’t efface the word. and primitive wind instruments. Then, he each of its fifteen pictures with a short ex- In his play, Tadeusz Różewicz settles with composed music for traditional orchestra pressive orchestra entry. Nearly twenty char- the spiritual and cultural heritage of the 20th with his characteristic micro-motifs and acters appear on stage, diverse motifs have century. Using the biography of Franz Kafka, small intervals. Most important, however, been assigned to most of them, for example he described the traps a man of those days are human voice and word, on which the or- the monologues of Franz’s father are based fell into. Some of them were set by the his- chestra is completely dependent. Polyeuctus on violent rhythms, the appearance of Fe- tory of the century, some – by biology and is an opera where dialog dominates, aria as lice is accompanied by dance music. Krauze nature. After thirty years the opera version a form of personal statement appears spo- doesn’t avoid a pastiche tone, therefore with of The Trap has become a universal and meta- radically. Zygmunt Krauze always treats the the perspective of the war approaching he phorical tale of an artist and their nation literary material thoughtfully. Although he introduced an ironic military march to the marked by the stigma of death. never works on the text by himself (here the music. The vocal parts have mainly the form The Trap staged by the Wrocław Opera in job was performed by Alicja Choińska and of a recitative, which enables the viewer to 2011 on the occasion of Tadeusz Różewicz Jorge Lavelli), he requires, however, that the follow the word. The composer treated the birthday is one of the most interesting per- work is limited, above all, to the necessary choir quite absorbingly – it is present in a few formances on the Polish stage of the last few abridgements. Krauze’s Polyeuctus maintains scenes and its monosyllabic singing behind seasons. Zygmunt Krauze remains loyal both Corneille’s five-act division, but particular the stage is to build the atmosphere. The to the proven models and his music and cre- scenes are so condensed, that the opera only whole music construction of The Trap consists ates a living and moving theatre. lasts about 120 minutes. In accordance with of easily recognisable elements, but Krauze Transl. A. Ó hAlmhain the composer’s suggestion, the authors of the libretto used the modern Polish transla- tion departing from the classical 13-syllable { news } meter of French tragedy. In Krauze’s opinion this is what causes that the conflict becomes more comprehensible to the viewer. Never- theless, a crucial change was introduced to Wojciech Kilar’s Film Music live in Kraków the finale. In Corneille’s, the death of the main character brings about his family’s con- version; the opera Polyeuctus finishes with Famous theme music from films such as a sung appeal for respect for every religion; Dracula, The Ninth Gate, The Portrait of tolerance and love. a Lady, Pan Tadeusz and Ziemia obiecana [The promised Land] were heard during THE TRAPS OF THE MODERN WORLD a gala concert which took place during ce Even greater a thoroughness was applied the Festival of Film Music in Kraków. fi by Krauze to Pułapka [The Trap] – one of the most important plays of the nestor of Polish Wojciech Kilar’s 80th birthday, one of the most poetry and drama, Tadeusz Różewicz. The important contemporary Polish composers and libretto is a result of a cooperation with the most recognised composers of fi lm music, be- director, Grzegorz Jarzyna (they worked to- came an opportunity this year for a number of gether earlier on the text of Yvonne, Princess concerts of his music and words of appreciation of Burgundy). It was no easy task. The literary for his accomplishments. The artist was awarded world of Różewicz and the world of opera the highest state decoration – the Order of the / Kraków Festival Of Wandzel Photo: W. don’t seem to cohere. When it comes down White Eagle, and also received an honorary doc- to this poet, every single word is important. torate from the University of Silesia in Katowice, the fi lms: Dracula, The Ninth Gate, The Portrait of He gives new meanings even to those spoken where he has lived for many years. During this a Lady, Pan Tadeusz, Trędowata [The Leper], The during trivial conversations, he is able to use year’s Film Pianist, Ziemia obiecana. The concert perform- them to describe problems and paradoxes of ance was accompanied by a projection of fi lms, contemporary reality. Opera, though, often Music Festival in Kraków a great gala concert and birthday greetings, guests’ commentaries distorts words with music, prefers ambigu- took place, attended by directors, actors and and anecdotes from fi lm sets and reminiscences ousness to a semantic concrete. great personalities from the fi lm industry who of collaboration with the Master from Poland and Krauze and Jarzyna shortened the text of had the honour to collaborate with Wojciech Ki- abroad were woven into the concert. The Trap considerably, of course. However, lar. The National Symphony Orchestra of Polish they kept the structure and the arrangement Radio and Polish Radio Choir under the direction The Gala was held on May 25 in the tinning hall of pictures, merely placing the scene of en- of the Brazilian conductor José Maria Florencio of ArcelorMittal Poland in Kraków. The co-organ- gagement of the main character Franz with and soloists: Iwona Hossa and Marek Szlezer isers were Polskie Wydawnictwo Muzyczne and Felice earlier, expanding it in the opera style performed, amongst other works, suites from TVP 2. Transl. L. Davidson

quarta • September 2012 13 { onstage }

A macroparty marked by disaster King Lear according to Mykietyn Photo: M. Oliva-Soto

Agata Kwiecińska (Polish Radio) interest in the sonoric possibilities which music is a very different creative process. arise when the octave is divided into more It is often a struggle with oneself at a desk, than twelve parts was considered as a signal pouring over stave paper.” However, these Searching for the key to understanding of something new by critics and researchers two worlds are only seemingly apart. Many the music of Paweł Mykietyn can be a thrill- of Mykietyn’s music alike. Today, this clas- musical ideas born in the theatre flow into ing endeavour, even if it doesn’t always end sification is not so obvious anymore – for autonomous music and vice versa. The elec- in success. What can we expect of his new- how should one classify the piece called tronic explosion heard at the beginning of est work, King Lear, its libretto based on the Vivo XXX, written to commemorate the 30th Epifora for tape can also be heard during the writings of William Shakespeare, Rodrigo anniversary of the signing of the August opening of the play The Bacchantes, directed Garcia and Jean Amery? Hard to say. Mykie- Agreement between Solidarity and the com- by Warlikowski. The Chinese oboe leitmotif tyn, quite deviously, calls it a musical theatre munists government? Where to place this used in a scene in the Angels in America thea- work. However, all it takes is a glance at the composition consisting of folk songs, a choir tre production returns, slightly changed, as libretto to see just how far away King Lear lies singing with great pathos, a minimalistic or- a saxophone solo in Mykietyn’s Passion ac- from a typical musical. The title hero himself chestra as well as special sound effects? It is cording to St. Mark. It was in that composi- delivers a crushing diagnosis of our times – harder still to find the key to understanding tion that Mykietyn’s theatrical sense proved reality is “a macroparty marked by disaster”. the Symphony No. 3, composed for the oc- impeccable, though inspiration came from casion of the Polish Presidency in the Euro- the Gaspar Noé film Irréversible. The story of SO-CALLED CLASSICAL MUSIC pean Union Council. The juxtaposition of Christ’s passion and death is told in reverse. Paweł Mykietyn, a classically trained com- a symphonic orchestra which is set to mimic The composer upsets the chronology, but poser, had always emphasized his pop music what the composer describes as ‘young peo- we know it all too well. The piece becomes fascinations. While at music school, he stud- ple’s music’ with a classically trained contral- a great retrospection, which poses the most ied classical clarinet by day, and played bass to, reciting rhythmically is yet another joke vital question: why? Why did people kill guitar in a punk-rock band by night. When played on us by the composer. The lyrics de- God? As for musical content, it is an ingen- asked about his early inspirations, he lists rive from private text messages of Mateusz ious combination of Mykietyn’s most fore- Henryk Mikołaj Górecki, Yannis Xenakis and Kościukiewicz, a young actor. Had Paweł most discoveries. We find delicate microtone late Beatles in one sentence. When he took Mykietyn mocked the philharmonic tradi- structures, harmonies mascarading as tonal- on serious composition, he was captivated tion or did he just want to write an informal ity, oriental vocal lines and even electric gui- by the music of Paweł Szymański which piece of music? Why did he call it a sympho- tars (perhaps an echo of his youth?). The part clearly referred to old genres and ancient ny? His previous composition of the genre of Christ is sung by a female voice – Mykie- form, though in an elusive, ambiguous man- was of a much different calibre. Those who tyn assigns the task to a mezzesoprano. Judas ner. When composing, Mykietyn’s first stage expected something similar of Symphony is also sung by a woman, a jazzy belt-type of creation consists of laying down a highly No. 3 must have been very surprised. voice. Only Pontius Pilate is male, though it complicated set of rules for the piece. Every- is a spoken, non-singing role. thing that happens later, is pre-planned and THEATRE Another important composition on the mathematically calculated – a process never Mathematical calculation and coming path to King Lear is a piece called Two poems noticed, and not meant to be noticed, by lis- up with complex structural models for au- by Miłosz, presented at last year’s Sacrum teners. tonomous compositions is only one of the Profanum Festival in Kraków. It is difficult Paweł Mykietyn’s creative output is usu- methods used by Paweł Mykietyn in his to say whether this piece is more suited for ally divided into two stages. The first one en- work. His film and theatre music is created the theatre or the concert hall. Two poems compasses early instrumental works – ...choć in a completely different way. For years, My- by Poland’s Nobel Prize Winning Poet are re- doleciał Dedal [...though Dedalus reached], La kietyn has been collaborating with Krzysztof cited by two actors. Perversely chosen texts – Strada, 3 for 13 but also Epifora for tape, an Warlikowski, a theatre director, and in this A Poor Christian looks at the Ghetto and An Hon- opera called Ignorant i szaleniec [An Ignora- case the job doesn’t consist of producing est Description of Myself with a Glass of Whiskey mus and a Madman] and Shakespeare’s Son- ready-made musical segments but rather at An Airport, Let Us Say, in Minneapolis sud- nets. The period ends in the year 2000. The co-creating the show from beginning to end. denly come into unexpected dialogue. Mu- beginnings of stage two are marked by the Mykietyn comes in for rehearsals during sic sauntering in the background discreetly 2004 premiere of Ładnienie [Becoming Fine] which he improvises, searching for musical compliments this peculiar conversation. In – a composition for baritone, a harpsichord ideas and testing them on the spot. In one reference to words being spoken, it serves tuned in microtones and string quartet. His of his interviews he states that “Autonomous as a background, rather than a counterpoint

14 quarta • September 2012 { newpublications } or commentary. Even in this short composition it becomes clear that the borderline between Selected Sheet Music Editions Mykietyn’s autonomous music and theatre mu- sic has blurred, almost into nonexistence. Adam BRZOZOWSKI Logabola (b. 1930) Cat. no. 11308 “KING LEAR” – IN BETWEEN AN OPERA A B C for B fl at or C A selection of eight pieces by Janusz Muniak, who AND A MUSICAL clarinet, book 1 is one of the most colourful characters of the I don’t want to say too much of Mykietyn’s Cat. no. 11261 Polish jazz. The set is published on the 20th anni- newest work. He came across Rodrigo Garcia’s versary of the existence of this extraordinary jazz version of the play King Lear, which serves as club “U Muniaka”. the backbone of the libretto, by accident. How- ever, the fascination with the character of King Arkadiusz Aries Lear is not accidental at all and leads us back Tunes you can play! NIEZGODA (b. 1978) into the realm of Krzysztof Warlikowski’s thea- for B fl at or C clarinet with piano Tres piezas para guitarra tre and his production of African Tales according Cat. no. 11242 Cat. no. 11277 to Shakespeare from last season. Mykietyn co- wrote the libretto of Lear with the playwright Fryderyk CHOPIN (1810-1849) Piotr Gruszczyński, combining Garcia’s text Variations in B fl at major Op. 2 with pieces of the Shakespearean original and Transcription for piano and string quartet Jean Amery’s essay On Aging. The score calls for score + parts three female voices – Lear’s daughters: Cord- Ed. by Bartłomiej Kominek elia (a belter), Regan and Goneril, two male Cat. no. 11202 Marek PASIECZNY voices – the Jester and Lear himself, an instru- (b. 1980) mental ensemble and electronics. The use of Wojciech KILAR (b. 1932) The Tango Impressions solo voices isn’t typical, since the singers mostly Lumen Tribute to the Art of Astor speak – the libretto for the most part is made of for mixed choir Piazzolla Rodrigo Garcia’s Spanish text, only the smaller Cat. no. 11291 for guitar fragments of the two other works are sung, in Cat. no. 11279 English. Mykietyn had already declared, years Sonnets to Laura “I was never a huge fan of ago, (when working on his first opera, An Ig- for baritone and piano Astor Piazzolla’s music, but noramus and a Madman), that a musical form Text by: Francesco Petrarca always admired his origi- which demands singing in place of speaking is Cat. no. 11304 nal style, faithfulness to the musical culture from hard for him to accept. This time, he goes much which he descended, and possibility his sense of further, drawing much closer towards theatre, style. Besides his obvious huge infl uence from Ar- at the same time taking care that each spoken gentinian Tango, Piazzolla’s music is largely based word within the score has its precise place, on improvisation, which also appeals to jazz (in- rhythm and tempo. The disproportion between cluding the element of spontaneous and continu- speaking and singing has led to calling the ous creating of music, often based on sophisticated work a musical, though knowing Mykietyn’s Andrzej KRZANOWSKI (1951-1990) harmony). His cycle Cinco Piezas is originally writ- tricky nature, one should approach the classi- Sonata No. 2 ten for solo guitar, and in my opinion it is one of fication of King Lear with reservation. The text for accordion solo the most valuable compositions from the 20th cen- of the work, permeated by bitterness, brought Cat. no. 11290 tury for this instrument. However, I did not decide forth by a controversial playwright known for to write Tribute to the Art... because of the above asking uncomfortable questions, touches upon Witold LUTOSŁAWSKI (1913-1994) elements. Contributed to the above are the fol- modern man’s greatest trauma – acute loneli- Variations on a Theme by Paganini lowing coincidences: Experiments from non-typi- ness, which nothing can soothe. arrangement for 2 pianos and percussion cal scordatura (in this case E 6th to F), exploring of Transl. J. Trafas Ed. by Marta Ptaszyńska innovatory techniques (at least relating to classical score + parts guitar) such as tapping, hammering, and percussive Cat. no. 9703 effects and their infi nite scale of colours to outputs on the guitar. To summarise – widely compre- On September 9 the 10th Paweł ŁUKASZEWSKI hended sonorism. Technical level, musical expres- anniversary Sacrum Pro- (b. 1968) sion and ease, a necessity to perform this piece, fanum festival in Kraków Aria creates great challenges for the instrumentalist.” will be inaugurated in for cello and piano [Marek Pasieczny] with a presentation of Król Lear [King Lear]. Apart Cat. no. 11315 from Paweł Mykietyn’s new work, during the fes- “Aria for cello and piano, al- Romuald TWARDOWSKI tival we will be able to hear new compositions by though written for a young (b. 1930) Polish composers of the younger and middle gen- cellist, can be successfully Hommage à Bach erations: Agata Zubel, Aleksander Nowak, Ce- performed by mature and for piano zary Duchnowski, Sławomir Kupczak and Martin fully trained instrumentalists. One can then at- Cat. no. 11278 Stańczyk, performed by the ensembles Alarm Will tempt very interesting interpretations, especially Sound, Bang on a Can All-Stars, Klangforum Wien considering that the piece’s technical require- and Ensemble Modern. ments are suited for an able fourth grader’s ca- pabilities; at the same time it is a quasi-polymeric In a concert entitled ‘Polish Icons’, DJs associated melodic composition, in the major-minor system, with the London label Ninja Tune – DJ Food, DJ with elements referring to jazz music.” Agata ZUBEL (b. 1978) Vadim, Grasscut, King Cannibal and Wrocław duet [Paweł Wojciechowski] What is the Word Skalpel – will reach for works by the greatest for voice, fl ute, violin, Polish composers; Witold Lutosławski, Wojciech Roman MACIEJEWSKI (1910-1998) violoncello and piano Kilar, Henryk Mikołaj Górecki and Krzysztof Pen- Les Chansons de Bilitis Cat. no. 11298 derecki. The original versions of the re-mixed for soprano and orchestra pieces will be presented by the Kronos Quartet. piano red. The festival will run until 17 September. Cat. no. 11262 Janusz MUNIAK (b. 1941)

quarta • September 2012 15 { newmusic } { newrecordings }

Aleksander Nowak Selected Hire Titles 3x4+8 String Quartets Nos. 1 and 2; Quantemporette; Ulica Spokojna 3 ZBIGNIEW BARGIELSKI (B. 1937) is a kind of Sprechgesang, written in rhythm, Silesian String Quartet, CELLONET Im Niemandsland contained in bars, and the music plays all the time CD Accord ACD 180, 2012 Oratorio for 2 singers, 2 reciters, 2 choral behind the text, sometimes more illustratively, groups and 2 instrumental groups (new version) sometimes less. There is no clear storyline, the Eugeniusz Morawski (1988/2012), 80’ plot is subordinate to the text. I called it a musical, Symphonic Poems A Bar solo-2Rec-coro misto-222(+sxf)0-4331-batt though strictly it isn’t. For sure it is not an opera, Don Quichotte; Ulalume; Nevermore (2esec) 2keyb chit el. ar-archi and I never intended to call it an opera because the Sinfonia Varsovia, M. Wolińska Premiere: 28 Apr 2012, Wrocław, ‘Musica essence of this work is that it is not sung, rather (cond.) Polonica Nova’ Festival the opposite – nearly all of it is spoken.” Bruckner Foundation/CD Accord A. Zubel (MS), P. Ostapenko (Bar), B. Krawczyk, [Paweł Mykietyn] ACD 176, 2012 A. Święs (rec), Wrocław Philharmonic Choir, Henryk Mikołaj Górecki W. Sirenko (cond.), PNRSO, S. Bywalec (cond.) FELIKS NOWOWIEJSKI (1877-1946) Concerto-Cantata “Bargielski’s oratorio is based on two ideas: Legend Kleine requiem für eine Polka; Three musical dialogue and centralisation. The first idea for violin and orchestra (before 1914), 7’ Dances, Concerto for Harpsichord manifests itself in the antiphonal use of the choirs vno solo-2222-2200-batt ar-archi and Orchestra (version for piano) and the responsorial dialogue of the soloists. NEW EDITION! A. Górecka (piano), C. Wincenc The dialogue can also be seen in the verbal layer, (fl ute), Warsaw Philharmonic Symphony Orchestra, A. Wit (cond.) where old Hebrew poetry meets with modern AGATA ZUBEL (B. 1978) NAXOS 8.572872, 2012 German language texts. The idea of centralisation Not I has shaped Bargielski’s music for over thirty years. for voice, instrumental ensamble and electronics Stalowa Wola Generation Its reason to be is to highlight certain pitches as (2012), 21’ Eugeniusz Knapik; Andrzej dominant.” S/MS solo 1(fl/picc./alt./bass)010 0000 pf batt el vn vc Krzanowski, Aleksander Lasoń [Marcin Krajewski] text: Samuel Beckett [Engl.] Silesian String Quartet Fundacja Musica Pro Bono, 6CD, Premiere: 13 Sept 2012, Kraków, ‘Sacrum 2011 WOJCIECH KILAR (B. 1932) Profanum’ Tango from J. Majewski’s film “Jealousy and A. Zubel, Klangforum Wien, C. Power (cond.) Medicine” (1973), 3’ Ignacy Jan Paderewski Manru 2022-0440-timp ptto sosp. tmb c.c. ar cemb pf-archi Streets of a Human City for instrumental Choir, Ballet and Orchestra of the (12.8.4.4.4) ensemble (2011), 16 Opera Nova in Bydgoszcz, M. Figas Premiere: 20 Sept 2011, ‘Warsaw Autumn’ (cond.) PAWEŁ MYKIETYN (B. 1971) European Workshop for Contemporary Music, DUX 9793, DVD, 2011 King Lear musical in 2 acts (2012) R. Bohn (cond.) Libretto: R. García, W. Shakespeare, J. Améry; Work commissioned by Deutschlandfunk adaptated by P. Gruszczyński “Streets of a Human City is an ingenious fusion of Premiere: 9 Sept 2012, Kraków, ‘Sacrum traditional musical material with the sounds of Profanum’ every day life. Laughing, coughing, the clanging of K. Moś, B. Blanco, J. Gonzalez de Springer, falling spoons, the clicking of typewriters and the Zbigniew Bargielski String Quartets J. Peter Kenny, J. Noval Moro, Ensemble steps of a pianist going to the instrument – almost Quartet No. 1 ‘Alpine’; Quartet No. Modern no music lover could remain indifferent to this 2 ‘Spring’; Quartet No. 3 ‘Still Life “This is a form in which the text is completely unusual walk.” with a Scream’; A Night of Farewells; equal to the music. The music always follows the [Marek Dolewka, polmic.pl] Quartet No. 4 ‘Burning Time’; text, Shakespeare’s excerpts are sung, and Garcia’s Quartet No. 5 ‘The Time That’s Passed’; Quartet No. 6 ‘Dramatic’; – spoken. One could say that here this speaking Through the Looking Glass Silesian String Quartet; M. Andrysek (accordion), R. Widaszek (clarinet) CD Accord ACD 173, 2CD, 2012

Wojciech Kilar The very best of Polonez from the fi lm “Pan Tadeusz”; Tango from the fi lm “Jealousy and Medicine”; Agnus Dei from the fi lm “König der letzten Tage”; Three Preludes; Missa Pro Pace: Kyrie (fragm.), Credo (fragm.); “The Ants” from the fi lm “Pan Tadeusz”; Piano Concerto: Preludium. Andante con moto; Choral Prelude: Choral. Misterioso; Victoria; Magnifi cat: Magnifi cat anima mea Dominum; Orawa; Kościelec 1909; Krzesany DUX 0906/0907, 2CD, 2012 Computer graphics by Justyna Kowalska-Lasoń

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