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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
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
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Twórczość baletowa Eugeniusza Morawskiego w kontekście poszukiwania polskiej tożsamości narodowej

89%
Łapeta O.
Polski Rocznik Muzykologiczny
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2021
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vol. 19
54-66
EN
The topic of this article is Eugeniusz Morawski’s ballet music analysed in the context of the search for national identity in Poland after it regained independence in 1918. The author’s reflection is focused on two fully preserved ballet compositions written in the 1920s. In the monumental four-part dance poem Miłość [Love] by Morawski, together with the author of the libretto, Franciszek Siedlecki, presents an allegorical journey of the pair of protagonists in search of spiritual renewal in a world threatened by progressive mechanisation. Their pilgrimage ends on Earth, and Mazurka is the central point of the last part of the composition. The two-part ballet Świtezianka [Fair Maiden from Svitez], written by the composer to his own libretto, contains in the first part a group scene in which the composer stylizes Polish folk dances. Morawski uses in these works numerous archaizing elements, such as col legno articulation in the strings or empty fifths in the bass; he also uses a pentatonic scale and modal scales, these fragments are distinguished by incisive rhythms. The composer’s treatment of folk material brings to mind an analogy between his work and the works of composers regarded as representatives of the national-folkloric trend in Polish music: Karol Szymanowski, Stanisław Wiechowicz and Roman Palester. Similar tendencies can also be observed in numerous literary and art works created during the inter-war period. A return to folklore and combination of its elements with modern composing techniques can also be found in the works of the most oustanding representatives of the avant-garde: Igor Stravinsky and Béla Bartók.
PL
Tematem niniejszego artykułu jest twórczość baletowa Eugeniusza Morawskiego, rozpatrywana w kontekście poszukiwania tożsamości narodowej po odzyskaniu przez Polskę niepodległości w 1918 roku. Przedmiotem refleksji są dwa zachowane w całości dzieła kompozytora, napisane w latach 20. XX wieku. W monumentalnym, czteroczęściowym poemacie tanecznym Miłość Morawski, razem z autorem libretta Franciszkiem Siedleckim, przedstawił alegoryczną wędrówkę pary bohaterów w poszukiwaniu duchowych wartości w świecie zagrożonym przez postępującą mechanizację. Peregrynacja kończy się na Ziemi, a centralnym punktem ostatniego ogniwa utworu jest Mazur. Dwuczęściowy balet Świtezianka, napisany przez Morawskiego do własnego libretta, zawiera w pierwszej części scenę zbiorową, w której kompozytor stylizuje polskie tańce ludowe. Stosuje liczne zabiegi archaizujące, takie jak artykulacja col legno w partii smyczków czy puste kwinty w basie, wykorzystuje też skalę pentatoniczną i skale modalne, a na pierwszy plan wysuwa się w tych fragmentach wyrazista rytmika. Wątki polskie pojawiają się także w zachowanym w formie niekompletnego wyciągu fortepianowego balecie Legenda o Kraku i smoku, w sposób swobodny opartego na legendzie o smoku wawelskim. Sposób traktowania przez artystę materiału o proweniencji ludowej każe wysnuć analogię pomiędzy jego twórczością a dziełami kompozytorów, w których twórczości zaznaczył się trend narodowo-folklorystyczny: Karola Szymanowskiego, Stanisława Wiechowicza czy Romana Palestra. Podobne tendencje zaobserwować można także w licznych dziełach literackich i plastycznych tworzonych w okresie dwudziestolecia międzywojennego. Powrót do ludowości i mariaż tych elementów z nowoczesnymi technikami kompozytorskimi odnaleźć można w twórczości najwybitniejszych przedstawicieli muzycznej awangardy: Igora Strawińskiego czy Béli Bartóka.
3
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Twórczość Eugeniusza Morawskiego w oczach krytyków i kompozytorów

75%
Łapeta O.
Kwartalnik Młodych Muzykologów UJ
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2015
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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.
4
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Recepcja poematów symfonicznych „Nevermore” i „Ulalume” Eugeniusza Morawskiego w prasie polskiej w latach 1924–1949

71%
Łapeta O.
Muzyka
|
2020
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vol. 65
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issue 4
105-127
EN
I discuss the reception of Eugeniusz Morawski’s two surviving symphonic poems inspired by the writings of Edgar Allan Poe, Nevermore and Ulalume. The former was performed in Poland at least nine times in the years 1924–1938, while the latter was presented at least four times between 1925 and 1949. In later years, performances of works by this composer were extremely rare, owing to the poor accessibility of the scores and the composer’s ill repute related to his pre-war conflicts with Karol Szymanowski. In their time, however, both compositions were performed under such leading conductors as Grzegorz Fitelberg, Emil Młynarski, Jascha Horenstein and Walerian Bierdiajew. They attracted much critical interest and earned Morawski a reputation as one of the most interesting active composers. They were praised for their expressive power, brilliant orchestration and uncanny mood, suggestively and vividly conveying the essence of their literary models. The occasional critical remarks concerned their stylistic indebtedness to Richard Wagner and Richard Strauss, and the fact that Morawski had embraced the medium of programme music.
PL
Przedmiotem rozważań jest recepcja dwóch zachowanych poematów symfonicznych Eugeniusza Morawskiego inspirowanych dziełami Edgara Allana Poego – Nevermore i Ulalume. Pierwszy z tych utworów wykonany został w Polsce w latach 1924–1938 co najmniej dziewięć razy, natomiast drugi był w latach 1925–1949 prezentowany co najmniej czterokrotnie. Późniejsze wykonania dzieł tego kompozytora były bardzo rzadkie, a powodem była słaba dostępność partytur i zła sława otaczająca nazwisko Morawskiego ze względu na jego przedwojenne konflikty z Karolem Szymanowskim. Oba dzieła były prezentowane pod batutą czołowych dyrygentów owych lat, m.in. Grzegorza Fitelberga, Emila Młynarskiego, Jaschy Horensteina czy Waleriana Bierdiajewa. Budziły duże zainteresowanie krytyków, którzy na ich podstawie uważali Morawskiego za jednego z najbardziej interesujących kompozytorów działających w owych latach. Chwalono je za siłę ekspresji, błyskotliwą orkiestrację i pełen niesamowitości nastrój, w sugestywny i plastyczny sposób oddający istotę ich literackich pierwowzorów. Okazjonalnie wysuwane zarzuty dotyczyły zależności stylistycznych od twórczości Richarda Wagnera i Richarda Straussa czy faktu korzystania przez kompozytora z medium programowości.
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Zjawisko muzycznych idées fixes w twórczości kompozytorskiej Eugeniusza Morawskiego: w poszukiwaniu genezy i interpretacji

71%
Łapeta O.
Muzyka
|
2019
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vol. 64
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issue 3
69-89
EN
The article deals with compositions by Eugeniusz Morawski in which the composer uses one of his constantly recurring ideas, or idées fixes. The first of those ideas appears in a letter sent to his closest friend, the Lithuanian painter and composer Mikalojus Konstantinas Čiurlionis, in which Morawski describes a funeral march with the tolling of bells that are used harmonically as a plagal cadence in first inversion with the third of the triad in the bass. This bell motif was used by Morawski in almost all of his most important works, such as the symphonic poems based on verse by Edgar Allan Poe, Nevermore and Ulalume, the two ballets Świtezianka (‘The nymph of Lake Świteź’) and Miłość (‘Love’) and the incidental music to Juliusz Słowacki’s play Lilla Weneda. In all these works, this motif occurs at moments symbolising death and oppression. Sometimes it is even more sinister, because Morawski used it as an accompaniment to themes symbolising hope. The second idée fixe might be called the theme of a woman’s death. It first appears in Nevermore, where it serves as a second theme, played by cor anglais in E minor. It illustrates the protagonist’s deceased beloved, Lenore. This theme appears for a second time at the very beginning of The Nymph of Lake Świteź, where it functions as a kind of motto, anticipating the death of the main female character, Sagna. It is used with an identical purpose in the incidental music for Lilla Weneda. Both themes recur constantly in five important compositions by Morawski, written between around 1911 and 1930. They seem to have had very significant meaning for the composer, although he never wrote about them. They may have represented autobiographical, intimate and obsessive symbols, so the term idée fixe is more than appropriate.
PL
Przedmiotem refleksji w niniejszym studium są dwie myśli muzyczne, obsesyjnie powracające w wielu dziełach Eugeniusza Morawskiego, będące wręcz emblematem jego stylu kompozytorskiego. Pierwszą z nich jest motyw dzwonów (poematy symgoniczne oparte na utworach Edgara Allana Poego, Nevermore i Ulalume, balety Świtezianka i Miłość, muzyka do sztuki Juliusza Słowackiego Lilla Weneda), drugą zaś – temat kojarzony w dziełach programowych kompozytora ze śmiercią kobiety (Nevermore i Świtezianka). Obie myśli powracają stale w poematach symfonicznych, baletach i muzyce scenicznej Morawskiego, uzasadniając tym samym określenie ich mianem idée fixe.
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Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)

51%
Gmys M.
Interdisciplinary Studies in Musicology
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2019
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issue 19
95-105
EN
In this article, the author tries to present the issue of blank spots in the history of Polishmusic since 1794 (the world premiere of Cud mniemany, czyli Krakowiacy i Górale [The supposedmirtacle, or Cracovians and highlanders] composed by Jan Stefani to the libretto of Wojciech Bogusławski is regarded as a symbolic beginning of national style in Polish music) up to the end of the SecondWorld War. It was a great period in history when Poland twice did not exist as a state (between1795 and 1918 and between 1939 and 1945).At the beginning the attention is drawn to the Polish music in the nineteenth century. Author describes new discoveries such as the Second Piano Quintet in E flat Major (with double bassinstead of second cello) by Józef Nowakowski (Chopin’s friend), and String Quartets op. 1 and monumentaloratorio Passio Domini Nostri Jesu Christi by Józef Elsner who was Chopin’s teacher in the Conservatory of Music in Warsaw (Elsner’s Passio discovered at the end of the twentieth century isregarded now as the most outstanding religious piece in the history of Polish music in the nineteenth century). Among other works author also mentions romantic opera Monbar (1838) by Ignacy Feliks Dobrzyński and first opera of Stanisław Moniuszko Die Schweitzerhütte (about 1839) written to the German libretto during composer’s studies at Singakademie Berlin.  Addressing the issue of Polish music of the first half of the twentieth century author draws attention to the composer Eugeniusz Morawski regarded as the leading Polish author of programme music next to Mieczysław Karłowicz (unfortunately Morawski is still forgotten figure in the Polish musical life).  Among others the importance of symphonic heritage of Feliks Nowowiejski, an author ofextremely popular in Europe during the second decade of twentieth century oratorio Quo vadis, is mentioned. At the end of article, the author takes up the problem of the enigmatic figure of Adolf Gużewski.The whole musical output of Gużewski, whose opera Dziewica lodowców [The Ice Maiden] was applauded in Warsaw and Russian opera houses in the second decade of the twentieth century, is now considered lost.
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