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.
1956 was a year of transition in Poland, and an important year for Polish music. This year saw the beginning of a political thaw – sometimes called the Polish October – in communist Poland. It was also the year of the establishment of the 'Warsaw Autumn' International Festival of Contemporary Music. This was a time of great artistic ferment in Polish music, which also deeply influenced symphonic thinking. The year 1956 is thus an appropriate starting point for Beata Bolesławska’s study of the contemporary Polish symphonic tradition. Bolesławska investigates the influential Polish avant-garde, illuminating the ways in which new musical means and ideas influenced symphonic music and the genre of the symphony in the music of such important composers as Witold Lutosławski (1913–1994), Henryk Mikołaj Górecki (1933–2010) and Krzysztof Penderecki (b. 1933). Referring to the main elements of the European tradition, as well as examining briefly the symphonic activity in Poland before 1956, the book concentrates on the symphonic writing in the context of avant-garde trends, represented by the so-called 'Polish school of composers', as well as on its later redefinitions proposed by Polish composers up to the present day.
This volume brings together a series of essays on some of the less known aspects of music culture in Poland in the 19th century. Eight studies are presented chronologically, including such topics as: careers of women composers, Karol Lipinski's concert tours and violins, Henryk Wieniawski, Polish reception of Wagner, images of composers by Polish music critics, Ignacy Jan Paderewski, and Feliks Nowowiejski. Authors, based in Poland, Germany and the U.S. include eminent scholars specializing in Polish music of the 19th and 20th centuries: Magdalena Dziadek, Maria Zduniak, Martina Homma, Krzysztof Rottermund, Krzysztof Szatrawski, and Maja Trochimczyk.
This Element explores the life and work of Grażyna Bacewicz (1909-1969), as a composer, violinist, pianist and author. She lived a remarkable life in Poland, navigating the complex world of Polish communist society and Soviet dominance after the Second World War, and brought Polish music to wider European attention. The Element describes the historical context of her life, her major achievements, and the language and development of her compositions, which attracted notable interest in Polish musical life. She wrote a wide range of pieces, making a significant contribution to the string repertoire, with important String Quartets and violin works. In her sixty years she achieved impressive triumphs as a women composer, served the Polish Composers Union and often judged major international competitions.
Now appearing in an English translation, this book by Szymon Paczkowski is the first in-depth exploration of the Polish style in the music of Johann Sebastian Bach. Bach spent almost thirty years living and working in Leipzig in Saxony, a country ruled by Friedrich August I and his son Friedrich August II, who were also kings of Poland (as August II and August III). This period of close Polish-Saxon relations left a significant imprint on Bach’s music. Paczkowski’s meticulous account of this complex political and cultural dynamic sheds new light on many of Bach’s familiar pieces. The book explores the semantic and rhetorical functions that undergird the symbolism of the Polish style in Baroque music. It demonstrates how the notion of a Polish style in music was developed in German music theory, and conjectures that Bach’s successful application for the title of Court Composer at the court of the Elector of Saxony and King of Poland would induce the composer to deliberately use elements of the Polish style. This comprehensive study of the way Bach used the Polish style in his music moves beyond technical analysis to place the pieces within the context of Baroque customs and discourse. This ambitious and inspiring study is an original contribution to the scholarly conversation concerning Bach’s music, focusing on the symbolism of the polonaise, the most popular and recognizable Polish dance in 18th-century Saxony. In Saxony at this time the polonaise was associated with the ceremonies of the royal-electoral court in Dresden, and Saxon musicians regarded it as a musical symbol of royalty. Paczkowski explores this symbolism of the Polish royal dance in Bach’s instrumental music and, which is also to be found to an even greater extent, in his vocal works. The Polish Style in the Music of Johann Sebastian Bach provides wide-ranging interpretations based on a careful analysis of the sources explored within historical and theological context. The book is a valuable source for both teaching and further research, and will find readers not only among musicologists, but also historians, art historians, and readers in cultural studies. All lovers of Bach’s music will appreciate this lucid and intriguing study.
Challenging myths that mountain isolation and ancient folk customs defined the music culture of the Polish Tatras, Timothy J. Cooley shows that intensive contact with tourists and their more academic kin, ethnographers, since the late 19th century helped shape both the ethnic group known as Górale (highlanders) and the music that they perform. Making Music in the Polish Tatras reveals how the historically related practices of tourism and ethnography actually created the very objects of tourist and ethnographic interest in what has become the popular resort region of Zakopane. This lively book introduces readers to Górale musicians, their present-day lives and music making, and how they navigate a regional mountain-defined identity while participating in global music culture. Vivid descriptions of musical performances at weddings, funerals, and festivals and the collaboration of Górale fiddlers with the Jamaican reggae group Twinkle Brothers are framed by discussions of currently influential theories relating to identity and ethnicity and to anthropological and sociological studies of ritual, tourism, festivals, globalism, and globalization. The book includes a 46-track CD illustrating the rich variety of Górale music, including examples of its fusion with Jamaican reggae.
At least nine million Americans trace their roots to Poland, and Polish Americans have contributed greatly to American history and society. During the largest period of immigration to the United States, between 1870 and 1920, more Poles came to the United States than any other national group except Italians. Additional large-scale Polish migration occurred in the wake of World War II and during the period of Solidarity's rise to prominence. This encyclopedia features three types of entries: thematic essays, topical entries, and biographical profiles. The essays synthesize existing work to provide interpretations of, and insight into, important aspects of the Polish American experience. The topical entries discuss in detail specific places, events or organizations such as the Polish National Alliance, Polish American Saturday Schools, and the Latimer Massacre, among others. The biographical entries identify Polish Americans who have made significant contributions at the regional or national level either to the history and culture of the United States, or to the development of American Polonia.
Making New Music in Cold War Poland presents a social analysis of new music dissemination at the Warsaw Autumn International Festival of Contemporary Music, one of the most important venues for East-West cultural contact during the Cold War. In this incisive study, Lisa Jakelski examines the festivalÕs institutional organization, negotiations among its various actors, and its reception in Poland, while also considering the festivalÕs worldwide ramifications, particularly the ways that it contributed to the cross-border movement of ideas, objects, and people (including composers, performers, official festival guests, and tourists). This book explores social interactions within institutional frameworks and how these interactions shaped the practices, values, and concepts associated with new music. Ê
