Polish Music since SzymanowskiCambridge University Press, 2008 M02 1 This 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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Page xv
... harmonic kernel , bb . 6-7 . Ex . 11.9 Penderecki , First Violin Concerto ( 1976 ) , conclusion . 241 243 Ex . 11.10 Penderecki , Second Cello Concerto ( 1982 ) , Variation III leading into Variation IV . 244 Ex . 11.11 Penderecki ...
... harmonic kernel , bb . 6-7 . Ex . 11.9 Penderecki , First Violin Concerto ( 1976 ) , conclusion . 241 243 Ex . 11.10 Penderecki , Second Cello Concerto ( 1982 ) , Variation III leading into Variation IV . 244 Ex . 11.11 Penderecki ...
Page 5
... harmonic shadings and instrumental textures of recent French music ( Stravinsky's influence at this point was less marked than in the 1920s ) . Perhaps most significantly , he seemed to have shed the structural formalities of earlier ...
... harmonic shadings and instrumental textures of recent French music ( Stravinsky's influence at this point was less marked than in the 1920s ) . Perhaps most significantly , he seemed to have shed the structural formalities of earlier ...
Page 6
... harmonic language is far removed from that of his predecessor . The Stabat Mater ( 1926 ) connected with older Polish choral and sacred traditions , while the ballet - pantomime Mountain Robbers ( Harnasie , 1923-31 ) was the most vivid ...
... harmonic language is far removed from that of his predecessor . The Stabat Mater ( 1926 ) connected with older Polish choral and sacred traditions , while the ballet - pantomime Mountain Robbers ( Harnasie , 1923-31 ) was the most vivid ...
Page 10
... harmonic language and treatment of the- matic material have strong links with Szymanowski , separately reinter- pret their Polish roots . Maklakiewicz , whose music was also influenced by Szymanowski's example , showed evidence of ...
... harmonic language and treatment of the- matic material have strong links with Szymanowski , separately reinter- pret their Polish roots . Maklakiewicz , whose music was also influenced by Szymanowski's example , showed evidence of ...
Page 12
... harmonic - textural blocking which brings to mind composers as varied as early Stravinsky , Hindemith and Debussy ( Maciej Gołąb has memorably described the opening Adagio as a ' pulsating plasma'22 ) . But the strongest impression is ...
... harmonic - textural blocking which brings to mind composers as varied as early Stravinsky , Hindemith and Debussy ( Maciej Gołąb has memorably described the opening Adagio as a ' pulsating plasma'22 ) . But the strongest impression is ...
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
aesthetic Anaklasis Bacewicz Baird cantata Cello Concerto choral chord clarinet coda compositional Concerto for Orchestra creative culture developed dodecaphony early electronic ensemble Example explored festival flute genre glissandi Górecki harmonic Ibid idiom instruments Karol Szymanowski Kilar Koffler Kotoński Kraków Krauze Krauze's Krenz Krzysztof Krzysztof Penderecki Łagów Lutosławski lyricism mass songs material melodic molto motif Muzyka neo-classical notation opening Overture Palester Panufnik Passacaglia Penderecki percussion performance Piano Concerto pieces pitch classes pitch organisation poco Poland Polish composers Polish music Polish Radio post-war premiere programme book repertoire rhythmic Ruch Muzyczny Schaeffer Scontri score second movement Second Symphony sempre sequence Serocki Sikorski socialist realism solo Sonata sonorism sonoristic soprano sord sound Stravinsky String Quartet structural stylistic Szabelski Szalonek Szymanowski Tadeusz Tadeusz Baird tape techniques textures theme Third Symphony Threnody timbral tonal traditional Turski twelve-note Violin Concerto Warsaw Autumn Witold Lutosławski woodwind
Popular passages
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