Polish Music since SzymanowskiThis book looks at Polish music since 1937 and its interaction with political and cultural turmoil. In Part I musical developments are placed in the context of the socio-political upheavals of inter-war Poland, Nazi occupation, and the rise and fall of the Stalinist policy of socialist realism (1948–54). Part II investigates the nature of the 'thaw' between 1954 and 1959, focusing on the role of the 'Warsaw Autumn' Festival. Part III discusses how composers reacted to the onset of serialism by establishing increasingly individual voices in the 1960s. In addition to a discussion of 'sonorism' (from Penderecki to Szalonek), it considers how different generations responded to the modernist aesthetic (Bacewicz and Lutoslawski, Baird and Serocki, Górecki and Krauze). Part IV views Polish music since the 1970s, including the issue of national identity and the arrival of a talented generation and its ironic, postmodern slant on the past. |
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Contents
XXXI | 225 |
XXXII | 232 |
XXXIII | 240 |
XXXIV | 253 |
XXXVI | 256 |
XXXVII | 261 |
XXXVIII | 266 |
XXXIX | 271 |
XIV | 73 |
XV | 81 |
XVI | 83 |
XVII | 92 |
XVIII | 111 |
XIX | 113 |
XX | 120 |
XXI | 132 |
XXII | 147 |
XXIII | 159 |
XXIV | 164 |
XXV | 187 |
XXVI | 197 |
XXVII | 202 |
XXVIII | 208 |
XXIX | 213 |
XXX | 223 |
XLI | 273 |
XLII | 277 |
XLIII | 283 |
XLIV | 289 |
XLV | 291 |
XLVI | 298 |
XLVII | 310 |
XLVIII | 315 |
XLIX | 317 |
L | 320 |
LI | 321 |
LII | 324 |
LIII | 332 |
LIV | 335 |
LV | 354 |
LVI | 366 |
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Common terms and phrases
already appears arco attempt Bacewicz Baird become cello central chamber chord closely compositional Concerto contemporary continued contrast create creative culture developed earlier early especially Example experience explored expressive fact festival final Five flute followed four Fourth further gives Górecki harmonic ideas idiom initial interest Kraków language late later less live Lutosławski major marked mass material melodic motivic move movement natural opening orchestra original Panufnik Penderecki percussion performance period piano pieces pitch played Poland Polish composers Polish music political post-war premiere programme range realism recent remains rhythmic Schaeffer score Second Second Symphony seems sense sequence Serocki significant socialist solo songs sonorism soprano sord sound stage String Quartet structural studies Symphony Szymanowski tape techniques textures theme Third tone traditional Tragic Overture twelve-note Violin Warsaw Autumn
Popular passages
Page 42 - From Stettin in the Baltic to Trieste in the Adriatic, an iron curtain has descended across the Continent. Behind that line lie all the capitals of the ancient states of central and eastern Europe. Warsaw, Berlin, Prague, Vienna, Budapest, Belgrade, Bucharest, and...
Page 42 - Warsaw, Berlin, Prague, Vienna, Budapest, Belgrade, Bucharest and Sofia, all these famous cities and the populations around them lie in what I must call the Soviet sphere, and all are subject in one form or another, not only to Soviet influence but to a very high and, in many cases, increasing measure of control from Moscow.
Page 59 - The heroes of the novel, once tormented by philosophical "insatiety," now entered the service of the new society. Instead of writing the dissonant music of former days, they composed marches and odes. Instead of painting abstractions as before, they turned out socially useful pictures. But since they could not rid themselves completely of their former personalities, they became schizophrenics.
Page 263 - To him that made great lights : the sun to rule by day : the moon and stars to rule by night: For his mercy endureth for ever.
Page 42 - if hyenas could use fountain pens and jackals could use typewriters they would write like TS Eliot'. The World Peace Council claimed 550 million signatures to its appeal - not all, admittedly, intellectuals; Picasso and Joliot-Curie, Neruda and Laxness, Yves Montand, Gerard Philippe, Simone Signoret, and the Dean of Canterbury were among the many enthusiastic supporters. The communist campaign...
Page 263 - The strongest affection and utmost zeal" is reserved for the promotion of "the studies concerned with the most beautiful objects." Those are the proper subjects of astronomy, "the discipline which deals with the universe's God-like circular movements, and which explains its whole appearance. What indeed is more beautiful than heaven, which of course contains all things of beauty?
Page 142 - I'm horrified to see how one can be carried away by my careless mention of the dramatic conflict between the solo part and the orchestra. I must immediately use the reins on this galloping imagination which prompts you to interpret the work as an illustration to some macabre spectacle.
Page 342 - The Warsaw Autumn International Festival of Contemporary Music 1956-1961: Its Goals, Structures, Programs, and People', Ph.D. thesis, Ohio State University (1989), pp.
Page 320 - Warsaw from over 100 countries for the Fifth World Festival of Youth and Students for Peace and Friendship 1955 Aug. The publication in Nowa Kultura of 'Poem for Adults...
Bibliographic information
| Title | Polish Music since Szymanowski Volume 19 of Music in the Twentieth Century |
| Author | Adrian Thomas |
| Publisher | Cambridge University Press, 2008 |
| ISBN | 1139441183, 9781139441186 |
| Export Citation | BiBTeX EndNote RefMan |