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1

ON WHAT WAS NATIVE IN THE MUSIC OF KAROL SZYMANOWSKI

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Dadak-Kozicka K. J.
Musicology Today
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2008
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vol. 5
131-150
EN
The authoress states that it is worthwhile to treat Szymanowski's creative development as a search for answers to vital questions relating to his personal, artistic and religious identity. The article is to trace different currents, particularly during the last creative period of the composer, and to define the sources of his music. As the nativeness in music is a multidimensional category: it may relate to a locality, region or nationality; it may also refer more broadly to the European culture, it a useful tool in considering Szymanowski's artistic identity. Prior to 1920, the influence of symbolism, expressionism and surrealism is of significance; especially the second stage of his creative development was a time of discovering Mediterranean world and the roots of European culture in general, which corresponded to the forging a new musical language - an idiosyncratic synthesis of the antique, the Orient and contemporary Europe. After 1920, in his last creative period, it is the native Polish tradition, the ancient folk music of Podhale and Kurpie, which is central to his style and his sense of identity.
2

KAROL SZYMANOWSKI AND FRENCH MUSICAL CRITICISM (Karol Szymanowski et la critique française)

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Moere D. v.
Musicology Today
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2008
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vol. 5
118-130
EN
The article depicts the presence of Szymanowski and his music in Paris and in the French musical press. Szymanowski visited Paris every year in 1920-1926 and since 1932 until his death, but he was less known to the French public than other outstanding composers of the time. According to the author three main reasons contributed to this situation: the fact that he did not live in Paris for a longer time, was not commissioned by the 'Ballets russes' and, finally, the discrepancy between his style and the musical fashion in the 1920 - Les Six. In the first article on his music published in French press (1922, by Alexandre Tansman) he is presented as a modern, independent composer, distinctly Polish, true to the spirit of his roots, more spiritually than ethnically. Emile Vuillermoz calls him a 'new Chopin' and makes of him an anti-Milhaud in his authentic modernism. Others described some of his works as 'seductive', filled with erotic mysticism, individualistic. The author notes the inability of the critics to classify this music, which is particularly clear in the case of 'Stabat Mater' premiered in Paris in 1930. After the Parisian premiere of 'Harnasie' (1936), in the time when the return to antiquity replaced the return to the sources, several reviewers, unaware of this change, were markedly more critical. Thus the 'splendid isolation' searched by Szymanowski himself and of which his music still suffers in Paris, may have been - unconsciously - perceived by these critics.
3

THE PROBLEM OF ORIENTALISM IN THE MUSIC OF KAROL SZYMANOWSKI

100%
Zeranska-Kominek S.
Musicology Today
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2008
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vol. 5
39-56
EN
A close reading of studies to the composer's 'oriental' works as well as of his own published writings and notes, including his Arabistic notes held in the University of Warsaw Library, permits to question the widely accepted interpretation of Szymanowski's connections with the Orient. The analysis of the notebooks, permits to state that the composer's main source of knowledge was the book by Le Bon and other French scholars. The way he approached Arabic culture reveals an original, independent mind, resistant to facile stereotypes of the oriental exotic. It is clear that the composer did not seek neither any precise information about Oriental music, nor was he searching for artistic inspiration. He wanted to avoid all stereotypical formulas symbolising the Orient and - as the authoress of the article points out - the linking of an 'oriental'-like technique with any actual musical tradition of the east raises justifiable doubts. A more promising source of musical 'exoticism' was the traditional folk music, although Szymanowski was again well aware of the danger of incorporating it into a professional musical language, which could give rise to an 'academic' folklore devoid of artistic depth.
4

THE LEITMOTOFS IN 'KING ROGER'

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Helman Z.
Musicology Today
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2008
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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.
5

THE SCRIABIN THEME IN THE FIRST PHASE OF KAROL SZYMANOWSKI'S CREATIVE DEVELOPMENT

100%
Chwilek A.
Musicology Today
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2008
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vol. 5
26-38
EN
The aim of the article is to supplement Józef Chominski's analyses of interrelationships between the compositional techniques of Scriabin and young Szymanowski by listing those of Scriabin's compositions which might have potentially provided the model and by establishing the actual extent of 'the Scriabin theme' in Szymanowski's work. The survey of the latter's writings and correspondence permits to state that the surviving sources seem to confirm that while adoption of Scriabin's motivic-thematic model occurred at the very beginning of the creative development of the Polish composer, the distancing of this idiom corresponds with the shaping of this truly individual musical language, which took place at the beginning of the 1920s. As far as the compositional technique is concerned, main features of the Scriabin theme model are defined, Szymanowski's early works referring to this model are listed and interpreted through the intertextual lens, perceived as a dialogue with existing repertoire.
6
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THE CURSE OF POWER, REVENGE OBSESSION AND THE INSCRUTABLE VERDICTS OF THE PARCAE: 'PHILAENIS' ('FILENIS'), AN OPERA BY ROMAN STATKOWSKI

100%
Zieziula G.
Muzyka
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2005
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vol. 50
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issue 3(198)
89-118
EN
'Philaenis' (1897), an opera by Roman Statkowski (1859-1925), written to the libretto by Hermann Erler (1844-1918), is an interesting research subject from the perspective of the history of Polish opera, as a work which stands half-way between the legacy of Wladyslaw Zelenski (1837-1921) and the musical theatre of Karol Szymanowski (1882-1937). The article describes the difficulties encountered by the composer as he tried to get the work staged (among them the vicissitudes of the London competition of 1903); it also discusses the characteristics of the libretto and the music of 'Philaenis'. The libretto, in spite of its antique 'mask', contains typically modernist features, and the music, while somewhat academic in style, also contains progressive elements which give one a foretaste of musical theatre of the first decades of the twentieth century.
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