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Język muzyczny Eugeniusza Morawskiego na przykładzie baletów Miłość i Świtezianka1

100%

Łapeta O.

Kwartalnik Młodych Muzykologów UJ

2019

issue 1(40)

27-73

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.

Polskie kompozytorki baletów. Rekonesans

51%

Drajewski S.

Polski Rocznik Muzykologiczny

2022

vol. 20

205-222

While Polish theoretical and musicological reflection seems to treat ballet music as a poor relation, ballet works composed by women appear as a complete tabula rasa. The present author decided to contribute to filling it by analysing works of Polish female composers of the 20th and 21st centuries. Statistical calculations based on three databases including Polish Music Information Centre (POLMIC), polishstage.pl (e-teatr) and taniecpolska.pl portals as well as own research have revealed that 35 Polish female composers of the 20th and 21st centuries have written at least one or more works whose subtitles contain the words “ballet” or “ballet music” or have been composed particularly for a dance theatre, pantomime or dance performance. Out of 122 compositions, twenty ballets have not been staged. The works composed for other types of “dance shows” were written in collaboration with specific choreographers, therefore they have all been staged, except for three compositions. The first Polish female composer to write ballet music was Anna Maria Klechniowska. Her two earliest ballets, “Bilitis” and “Juria” were composed in the interwar period, and the third one titled “Fantasma” in 1964. The most successful female composer was Jadwiga Szajna-Lewandowska who composed ballets for children. Her most popular work was ballet “Pinokio” [Pinocchio]. Another question refers to stage productions of ballets composed by women. Eighteen of the ballets staged were choreographed by men, and fourteen by women. In the case of music composed strictly for “dance shows” (dance theatre, pantomime or dance performance) female (47): only twelve male choreographers decided to collaborate with a female composer. Two performances were the result of collaborative work. The findings to date constitute a point of departure for further research into music composed “for dance” (ballet, pantomime, dance theatre and dance performances).

Muzyka baletowa przedstawia się jak uboga krewna w polskiej refleksji teoretycznej i muzykologicznej. A muzyka baletowa tworzona przez kobiety jawi się wręcz jako czysta kartka. Aby chociaż w minimalnym stopniu ją zapisać, postanowiłem przyjrzeć się polskim kompozytorkom XX i XXI wieku. Z wyliczeń statystycznych, opartych o trzy bazy danych: POLMIC-u, e-teatru, taniecpolska.pl i kwerendy własne wynika, że 35 polskich kompozytorek XX i XXI wieku ma na swoim koncie przynajmniej jedno dzieło lub więcej, które w podtytule zawiera dookreślenie „balet”, „muzyka baletowa” lub zostało skomponowane specjalnie dla teatru tańca, pantomimy lub spektaklu tańca. Łącznie powstało 122 utworów, z których 20 (balety) nie doczekało się realizacji scenicznej. W związku z tym, że muzyka pisana dla innych typów „widowisk tanecznych” powstawała we współpracy z konkretnym choreografem lub choreografką, została zrealizowana na scenie - z wyjątkiem 3 kompozycji - w stu procentach. Kompozytorką, która jako pierwsza tworzyła muzykę baletową w Polsce, była Anna Maria Klechniowska. Pierwsze dwa balety: „Bilitis” i „Juria” skomponowała w dwudziestoleciu międzywojennym, trzeci - „Fantasma” - w 1964. Największym powodzeniem cieszyła się twórczość baletowa dla dzieci Jadwigi Szajny-Lewandowskiej (1912–1994). Najczęściej wystawiany był balet „Pinokio”. Kolejne zagadnienie dotyczy realizacji scenicznych. Choreografię do 18 baletów wystawionych na scenie zrealizowali mężczyźni, a 14 - kobiety. Inaczej wypadają liczby w przypadku muzyki do „widowisk tanecznych” (pantomima, teatr tańca, spektakl tańca), gdzie dominowały choreografki (47). Dotychczasowe ustalenia stanowią punkt wyjścia do dalszych badań muzyki pisanej „do tańca”.

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1 Kwartalnik Młodych Muzykologów UJ

1 Polski Rocznik Muzykologiczny

1 Drajewski S.

1 Łapeta O.

1 2023

1 2019

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Język muzyczny Eugeniusza Morawskiego na przykładzie baletów Miłość i Świtezianka1

Polskie kompozytorki baletów. Rekonesans