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”.
Authors and Affiliations
Małgorzata Janicka-Słysz
Keywords
Related Articles
- EP ID EP332190
- DOI -
- Views 114
- Downloads 0
Moja droga do "Gemisatos"
Autorka, kompozytorka, wspomina swoją drogę twórczą.
Kwartety smyczkowe Henryka Mikołaja Góreckiego wobec tradycji gatunku
The category of genre occupies an important place in the process of significant change that underwent in the ideas and the aesthetics of Polish composers of the 20th century. The problem of existence of genre is also pre...
Emblemat jako środek nowej retoryki muzycznej w oratorium "Das Unaufhörliche" (1931) Paula Hindemitha
Among the unforgettable works by Paul Hindemith (1895-1963) we can definitely name oratorio Das Unaufhörliche (1931). At the time it was met with vivid end extreme reactions by the audience and by the critics, for exampl...
"Powiało na mnie morze snów…" Pieśni zadumy i nostalgii
Penderecki’s extraordinary song cycle features a remarkable range of styles (and poets). An analysis of the first three songs offers insight into Penderecki’s compositional strategies, with special attention to pitch str...
Grieg a Karłowicz
At the end of the 19th century Warsaw was fascinated with the music of Edvard Grieg (1843-1907). The composer visited the Polish capital in 1902 and 1903, when he performed his music as a conductor and pianist with the o...