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1

ROMAN PALESTER AND LUIGI DALLAPICCOLA (Roman Palester i Luigi Dallapiccola).

100%
Helman Z.
Przegląd Muzykologiczny
|
2004
|
issue 4
5-26
EN
Although Roman Palester (1907-1989) and Luigi Dallapiccola (1904-1975) grew up in different creative environments and cultural traditions, their generational and spiritual affinities coupled with common artistic goals converged into a mutual friendship. In their mature periods, both composers drew upon the heritage of the Second Viennese School, in particular that of Alban Berg. Both composers' debut appearances took place in the 1930s and both were promoted by the International Society for Contemporary Music. Palester and Dallapiccola probably met at one of the pre-war contemporary music festivals; they later cooperated within the festival juries. Their relationship is documented by numerous letters from the 1940s and 1950s. In their early compositional careers they shared a similar position within their respective musical traditions. This situation changed when in 1951 Palester chose to emigrate from Poland. His works were banned in Poland and were denied both performances and appearance in print. When the Polish section of ISCM was revived in 1957, Palester's compositions, not representing any specific country, disappeared also from international festival programmes. It is unknown whether - and how - Dallapiccola sought to help his friend, but it is probably thanks to him that Palester established contacts with the Suvini Zerboni publishing house in Milan. As Boguslaw Schaeffer already remarked, Luigi Dallapiccola became the first exponent of the 'reconciliatory agenda' between traditional and twelve-tone music. Roman Palester clearly referred to this notion, although the stylistic breakthrough in his music between the 1940s and 1950s was influenced by his interest in the modern Viennese school and in the twelve-tone theory through the work of René Leibowitz. The affinity of his music with that of Dallapiccola can be seen in its unrigorous approach, particularly in the practice of introducing the series not at the beginning of a piece, but in its middle section and sometimes even at its end. In addition, both composers attributed great importance to varied texture, rhythm and colour in consecutive presentations of the series. In his best work - the 'musical action' 'The Death of Don Juan' (1959-1961) - Palester revives the tradition of expressionist theatre, as does Dallapiccola in his 'Il prigioniero', while the inner consistency of the narrative, based on one series, and the formal symmetry of both works indicate a common path in establishing a new opera style. Palester dedicated the last piece of his piano cycle 'Espressioni' (1964-1975) to Dallapiccola, to whom he felt closest of all contemporary composers. The conclusion of the piece bears the motto 'Ricordanza L. D. 18 II 1975' (Dallapiccola died on February 18th, 1975).
2

THE LEITMOTOFS IN 'KING ROGER'

100%
Helman Z.
Musicology Today
|
2008
|
vol. 5
79-93
EN
Szymanowski's readings and his novel 'Efebos' are revised as important sources for the opera 'King Roger' (began in 1918 and finished in 1924). Some of the essential aesthetic ideas are then described, such as the principle of 'coincidentia oppositorum', as expressed in the contrasting of the elements in the libretto and music. The authoress observes that music contains only references to the most general features of medieval or oriental music, which should be termed rather as stylistic allusions than stylisation. It is the emotional character of the music, which is more important than the stylistic accuracy. The external contrasts of the action are according to the authoress levelled out by the leitmotifs common to all the acts and representing the three main characters. They provide the musical cohesion and create the inner action, which on occasions reveals the hidden meaning of the verbal layer. One of the examples of the treatment of the leitmotifs, corresponding to the dramaturgy, is the deconstruction of Roger's motif in the third act, expressing his psychological disintegration. The transformations of the motifs are analyzed in other crucial moments of the action, which provides some explanation of the opera's complex meanings.
3

THE DATE OF CHOPIN'S ARRIVAL IN PARIS

63%
Helman Z., Wroblewska-Strauss H.
Musicology Today
|
2007
|
vol. 4
95-103
EN
The authoresses of the article present their momentous discovery, which permit to accurately establish the exact day of Chopin's arrival in Paris after 150 years of confusion surrounding this topic. The research in the archives of Parisian 'Préfecture de police', combined with new data brought to light in studies of other Chopin biography scholars, such as Henryk F. Nowaczyk, Zbigniew Skowron, and confronted with historical facts corresponding with Chopin's journey to Paris, allows to define precisely the dates of this important moment in the composer's life.
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