Pokolenie ’33 wobec Karola Szymanowskiego
Journal Title: Teoria Muzyki. Studia, Interpretacje, Dokumentacje - Year 2014, Vol 5, Issue 5
Abstract
Szymanowski’s presence – three attitudes in the 33 Generation · Krzysztof Penderecki’s attitude was negative for long years, and it resulted from the composer’s reaction to the image of Szymanowski (fabricated during Socialist Realism) as the author of music based mainly on folklore. Penderecki’s attitude changed with his mature style, and it was probably connected with his reinterpretation of Romanticism. The author of Credo conducts Szymanowski’s pieces. He values his Violin Concerto No. 1, Symphony No. 3 “Song of the Night”, and Stabat Mater the most. · Zbigniew Bujarski’s attitude towards Szymanowski can be defined as neutral. The author of Musica domestica studied with Stanisław Wiechowicz, who taught his students the art of composition using, amongst others, the scores of the author of Harnasie. Szymanowski’s “voice” can be heard in Bujarski’s Concerto per archi I for violin and string orchestra (1979). · Henryk Mikołaj Górecki’s attitude towards Szymanowski’s conduct and music can be defined as affirmative, supported by the shared fascination with Polish “race” music, i.e. the music of the Podhale region. “I looked at Polish highland culture,” said Górecki, “and I looked for prototypes. I was interested in this transformation; how it went from the Obrocht family to Szymanowski. So I looked for those roots and was fascinated whenever I could find them”39. In his String quartet No. 3 “Songs Are Sung” (premiered in 2005) Górecki introduced a quote from Szymanowski’s String quartet No. 2 “Highland”.
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Małgorzata Janicka-Słysz
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