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1

Język muzyczny Eugeniusza Morawskiego na przykładzie baletów Miłość i Świtezianka1

100%
Łapeta O.
Kwartalnik Młodych Muzykologów UJ
|
2019
|
issue 1(40)
27-73
EN
Two of Morawski’s preserved complete ballet scores – Miłość (Love) and Świtezianka (The Maid of Lake Świteź), are representing a relatively late stage of his career as a composer, especially compared to his preserved symphonic poems (Don Quichotte, Nevermore and Ulalume). Miłość was written between 1925 and 1928. Libretto was written by the painter, theatre critic and scenic designer Franciszek Siedlecki. It is Morawski’s longest preserved composition – its estimated duration is about 3 hours. It is a score for a large orchestra supported by organ and choir. The work is divided according to the 19th-century ballet-divertissement. It is set in four parts, representing different locations (the world of machines, thesphere of the planets, the world of eternal love and Earth), and each part is divided into scenes and further dance numbers. Miłość was never presented on stage, but some portions of the work were shown at concerts. Świtezianka was written ca 1922. It is a much shorter work – its duration is about 35 minutes. Libretto was written by the composer himself. The plot of the ballet is a love triangle between a girl, a lumberjack and a knight. It is to represent a fantastic vision of pagan Slavic world in which reality and supernatural are mixed together. Świtezianka was staged in 1931 in Warsaw and was the biggest success in Morawski’s career, bringing him the State Prize for Musical Achievements in 1933. Since then it was staged three times – in 1960, 1962 and 2017, each time bringing reviews full of admiration and respect. Both ballets show Morawski as a composer fully aware of the 20th-century trends and techniques. His musical language in these works resembles Bartók, Ravel, Prokofiev and Stravinsky. They are masterly orchestrated with acute sense of orchestral timbre and with extensive use of percussion and brass sections. Morawski uses polytonality and polymetrics, underlines sharp rhythms and uses scales unfamiliar to traditional tonal system – pentatonic scale, whole tone scale and modal scale. These traits show Morawski as one of the most interesting and unjustly neglected Polish composers of the first half of the 20th century.
2

Phonographic Realisations of the Gothic Symphony by Havergal Brian

100%
Łapeta O.
Kwartalnik Młodych Muzykologów UJ
|
2018
|
issue 2(37) Eng
161-176
EN
Havergal Brian’s Symphony No. 1 in D minor (1919–1927), known as Gothic Symphony, is possibly one of the most demanding and difficult pieces in symphonic repertoire, the largest-scale symphony ever written, outdoing the most extreme demands of Mahler, Strauss and Schönberg. After the purely instrumental part 1, part 2 is a gigantic setting of Te Deum, inspired by the mighty Gothic cathedrals. This outstanding work has been performed only six times since its premiere in 1961, and has been recorded in studio only once. There are three existing phonographic realisations of this work. Two of them are live recordings made in England. The first of them comes from 1966, when the Symphony was recorded under the direction of Adrian Boult (it was released by the Testament label under catalogue number SBT2 1454) and the second one was made in 2011 under the baton of Martyn Brabbins (it was released in the same year under catalogue number CDA67971/2). The third recording, but the first one that has been available internationally, was made in Bratislava in 1989 under Ondrej Lenárd (it was first released by Marco Polo label in 1990, and later published by Naxos in 2004 under catalogue number 8.557418-19). Made with different orchestras and choirs, under very different sonic circumstances, they also differ considerably within interpretative ideas represented by conductors. They show Brian’s work in different ways, illuminating this composition. Sadly, despite their efforts, the composer’s output is still perceived as peripheral curiosity for connoisseurs.
3
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Twórczość Eugeniusza Morawskiego w oczach krytyków i kompozytorów

100%
Łapeta O.
Kwartalnik Młodych Muzykologów UJ
|
2015
|
issue 1(24)
4-23
EN
The aim of this study is to present and synthesize the image of Eugeniusz Morawski’s output as presented by the Polish press and Polish composers. Morawski is an unknown composer, absent from the concert programs. His works were performed during composer’s lifetime and caused mixed and extreme reactions from the critics. His first successful concert – performance of now lost symphony-poem Vae victis in Salle Gaveau, Paris, was barely noted in Polish press. The first performance of symphonic poem Don Quichotte in 1912 caused vivid, yet mixed reactions. An important review was written by Aleksander Poliński, who criticized Morawski for being stylistically dependent on Richard Strauss’s style. Other reviews, some of them anonymous, were positive. The composer was praised for his talent and he was predicted to become a huge success in the future. Later on, his works were infrequently performed. In 1925, the symphonic poem Nevermore was performed in Warsaw under direction of Grzegorz Fitelberg. The work was very well received by the critic Karol Stromenger. Yet Morawski’s greatest success was his ballet The maid of Świteź, presented in Warsaw’s Great Theatre in May 1931. In 1933 Morawski received for this work the musical prize from the Ministry of Religious Beliefs and Publick Enlightment, winning the competition with Karol Szymanowski’s Symphony no.4. The event was discussed in great detail by the press. Some of the reviewers praised this work as Morawski’s masterpiece, others criticized it as worthless and clumsily written. The ballet was presented again in 1962 under the direction of Bohdan Wodiczko. A critic and a composer Stefan Kisielewski praised the word for its great orchestral effects and eerie climate. The article also uses extracts of letters of a composer Szymon Laks, essays of Stefan Kisielewski, and unpublished material from Polish Composers Union archive – letters of Grażyna Bacewicz and Włodzimierz Sokorski.
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