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Symphony No. 7 by Krzysztof Meyer - strategy of building the form, expressivity of the work

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Podhajski M.

Interdisciplinary Studies in Musicology

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2011

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issue 10

155-174

PL

The article brings closer the formal and expressive properties of the 7th Symphony by Krzysztof Meyer, composed in the years 2002/2003. Meyer distinguishes several specific features that should be taken into consideration during the process of composing.1 These include: the capacity to adapt, the limitation of soundinformation transferred onto the listener, and a division of the form into integrant phases. The capacity to ‘adapt’ occurs through opposing emotional states connected with the reception of music: remembering, familiarising, and becoming used to a certain property of the musical progress - surprise that emerges with the appearance of a change. The surprise effect is a strong reaction, and one that is sought after for the purpose of maintaining a high level of the listener’s engagement in the reception process of music. The need to ‘limit the sound-information’ that the composer transfers onto the listener allows the latter to take note of it and remember it. An information overload leads to a sense of disorientation, being lost, and consequently discouragement from active listening. Finally, ‘the significance of the structural elements of the form’ is considered. In his conclusion, Meyer presents a model of musical form as a progress based on phases unfolding in time. The composer outlines the following phases: the initial phase, the essential phase, the transitional phase, the phase of particular importance, and the final phase. However, he warns against literal and orthodox understanding of his concept. ‘Meyer’s fundamental aim is ‘to lead’ the listener and not to overstretch their perceptive capabilities. A ‘planned spontaneity’ is the purpose’.2 ‘All the symphonies by Meyer, both early and recent, were shaped in the same manner. The process is at the forefront: build-up, development, clashing collisions, conflict of contrasting elements’.3 The 7th Symphony is also built according to similar constructional principles. What distinguishes it from the earlier works in this genre is connected with the expressivity of the work. The composer notes: ‘The symphony evolves according to musical laws par excellence, but not without admitting some thoughts about myself in metaphorical categories, because, after all, the subtitle ‘Sinfonia del tempo che passa’ - Symphony of the Passing Time - was not chosen accidentally’.4 Thus it is a tale about one of the most fundamental existential experiences of every human being: the passing. This is suggested by the emotional aura of the music, the subtitle that the work was given, and references to emphatic rhetoricalmusical figures known from the Baroque period. As Thomas Wesselman wrote: ‘The subtitle Symphony of the Passing Time clearly invites the assigning of a retrospective character to this opus no. 97’.5 ‘It is true that the composer has never commented on the subject, but the justification of the suspicion seems to be confirmed by the expressivity of the final movement (molto lento), which, in a way, is a statement filled with peace and tranquillity made by a human being with years of experience behind him. In any case, it suffices to compare this symphony with its two predecessors, i.e. the 5th, full of energy and scored for strings, and the dramatic 6th written as a reaction to the introduction of the martial law in Poland; one has a sensation that a moment of reflection (pondering over life’s end?) plays a special role in the 7th'.6

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Fazy twórczości Henryka Hubertusa Jabłońskiego — propozycja klasyfikacji

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Szemiel M.

Aspekty Muzyki

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2012

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vol. 2

173-183

EN

The article is an attempt to divide Jabłoński’s output into phases according to Mieczysław Tomaszewski’s concept. In line with the assumptions of this concept, in the composer’s biography there are turning points and a return that defi ne his creative path. General characteristics of Jabłoński’s creative path can be divided into three phases. Stylistic caesurae of the phases become essential in pointing out the pivotal moments that defi ne the course of evolution of Jabłoński’s oeuvre. The path leads from the infl uence of neoclassical aesthetics in his early works, through the experience of aleatoric and sonoristic techniques of controlling the musical material, up to simplifi ed textures and stylistic features revolving around the sérénité climate. In the phases of the evolution of Jabłoński’s output presented here, specifi c features of his musical language are pointed out. These are connected with his individualistic approach to the issue of tonality. The composer developed and enriched his musical language, but only with such elements of new techniques that did not disturb the creative path he had taken earlier. His attempts to merge traditional forms with 20th-century compositional techniques only served the purpose of fi nding new timbres and sound qualities. The author of the article emphasises the importance of the melodic element in Jabłoński’s works, where expressivity and emotion are anchored in the expression of the romantic spirit of beauty.

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Kinga Kiwała, Pokolenie Stalowej Woli. Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń. Studia estetyczne, Kraków 2019 Akademia Muzyczna w Krakowie, ss. 449. ISBN 978-83-62743-87-2

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Bolesławska-Lewandowska B.

Muzyka

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2019

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vol. 64

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issue 4

170-173

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Bolesław Wallek-Walewski i jego twórczość religijna na chór mieszany

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Kałamarz W., Karcz B., Tyrała R., Zając A., Delimat W., Janicki J. J., Malik J., Sterczewska L., UPJPII i., Pasek W., Karcz B., Malik J., Sterczewska L., UPJPII i., Pasek W.

Pro Musica Sacra

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2014

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vol. 12

EN

Boleslaw Wallek-Walewski, an outstanding musician of the pre-war Kraków, extremely active organizer of musical events, the creator of the Kraków Opera Society (1915), distinguished educator, director of the Conservatory of the Music Society in Kraków, conductor, accompanist and a composer whose works were often played in the pre-war period – is now an almost completely forgotten figure. He was most successful in his work with male choirs and he created repertoire for them, which was later performed by him and the choirs. Author of operas, oratorios, symphonic works and compositions for mixed choirs. The 70th anniversary of his death, which is celebrated this year, is an opportunity to bring this area of his professional activity to our attention as it can be helpful in working with the kind of choir which is most common today.

PL

Wybitny muzyk przedwojennego Krakowa, Bolesław Wallek-Walewski, niezwykle prężny animator życia muzycznego, twórca Krakowskiego Towarzystwa Operowego (1915), zasłużony pedagog, dyrektor Konserwatorium Towarzystwa Muzycznego w Krakowie, dyrygent i akompaniator, kompozytor, którego utwory były przed wojną często wykonywane – jest dziś postacią niemal zapomnianą. Największe sukcesy odnosił w pracy z chórami męskimi, dla nich tworzył repertuar, z którym występował. Twórca oper, oratorium, utworów symfonicznych, komponował także na chór mieszany. Obchodzona w tym roku 70. rocznica jego śmierci jest okazją, by przypomnieć ten dział jego twórczości, który może być przydatny w pracy z rodzajem chórów dziś przeważającym.

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Twórcy – Źródła – Archiwa [Composers, Sources, and Archives]; Między Warszawą a Paryżem (1918–1939) [Between Warsaw and Paris (1918–1939)]; ‘American Dream’: Polscy Twórcy za oceanem [‘American Dream’: Polish Composers across the Atlantic], eds. Beata Bolesławska-Lewandowska and Jolanta Guzy-Pasiak, Warszawa 2017–2020 Instytut Sztuki PAN (= Muzyka polska za granicą 1–3), pp. 300 + 210 + 205. ISBN 978-83-65630-59-9, 978-83-65630-86-5, and 978-83-66519-09-1

72%

Pierce J. M.

Muzyka

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2022

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vol. 67

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issue 1

165-169

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Danuta Gwizdalanka, 'Uwodziciel. Rzecz o Karolu Szymanowskim' [The Seducer: A Book about Karol Szymanowski], Kraków 2021 Polskie Wydawnictwo Muzyczne, pp. 851. ISBN 978-83-224-0985-5

72%

Bolesławska-Lewandowska B.

Muzyka

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2022

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vol. 67

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issue 2

180-184

7

Kategoria felicitas w świetle twórczości polskich kompozytorek

72%

Fabiańska-Jelińska E.

Amor Fati

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2015

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issue 1

171-184

XX

Category of felicitas in the light of Polish composers

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Art Attractive for the Masses or Fetters of the Artistic Freedom? Elements of Folklore in the Music of Polish Socialist Realism

58%

Krzymowska-Szacoń K.

Roczniki Teologiczne

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2015

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vol. 62

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issue 13. Muzykologia

69-87

EN

The aesthetic of socialist realism, which was imposed on Polish composers after the conference in Łagów Lubuski (1949), has never been precisely defined. One of the recommended elements of creative activity—apart from intelligibility of musical language—was folk inspiration. Paradoxically, the way the folklore was seized could mean both the compromise with the ideological pressure and confirmation of the artist’s sovereignty (when the artist creatively continued national tradition). Polish composers chose this neutral source of inspiration willingly. Therefore, the turn of the 40s and 50s was the time of multitudinous folkloristic stylizations in Polish music. The purpose of this paper is to recapitulate the attitude of chosen Polish composers to folk music as the source of inspiration, as well as to a general socio-political situation during the Polish socialist realism. Resuming briefly the subject matter of folklore in the Polish socialist realism four categories might be distinguished: it could be a phase of evolution of musical language (in the works of W. Lutosławski, A. Panufnik and G. Bacewicz), a continuation of pre-war idea of popularization of national music (S. Wiechowicz or B. Woytowicz) or a sort of compromise and a factor which was able to withdraw the accusations of formalism, as in the case of Perkowski, Serocki and all the 49’Group. Finally, in its most barest form, folklore was just an instrument of propaganda, quickly and willingly forgotten after the arrival of new artistic trends in 1956.

PL

Estetyka socrealizmu, narzucona polskim kompozytorom po konferencji w Łagowie Lubuskim (1949 r.), nigdy nie została precyzyjnie zdefiniowana. Jednym z promowanych elementów twórczości artystycznej, obok prostoty wypowiedzi, była inspiracja ludowa. Paradoksalnie, sposób ujęcia folkloru mógł oznaczać zarówno kompromis wobec presji ideologicznej, jak i potwierdzenie suwerenności artysty, który odwołując się do narodowej tradycji, twórczo ją kontynuował. Polscy kompozytorzy, wśród których przeważała postawa unikowa, chętnie z owego neutralnego źródła inspiracji korzystali, ze względów politycznych przełom lat 40. i 50. był więc w polskiej muzyce czasem licznych stylizacji folklorystycznych. W artykule podjęto próbę podsumowania stosunku wybranych kompozytorów do muzyki ludowej jako źródła inspiracji oraz do ogólnej sytuacji społeczno-politycznej czasów polskiego socrealizmu. Wyróżniono cztery podstawowe kategorie obecności nurtu folklorystycznego: jako etapu twórczości (u W. Lutosławskiego, A. Panufnika i G. Bacewicz), jako kontynuacji międzywojennej idei upowszechnienia muzyki narodowej (jak to miało miejsce w twórczości S. Wiechowicza czy B. Woytowicza), jako rodzaju kompromisu, czynnika odsuwającego groźbę oskarżenia o formalizm, jak w przypadku P. Perkowskiego, K. Serockiego i całej „Grupy 49” oraz – w najbardziej ogołoconej formie – jako narzędzia propagandy, szybko i chętnie zapomnianego wraz z nadejściem nowych prądów artystycznych.

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Symphony No. 7 by Krzysztof Meyer - strategy of building the form, expressivity of the work

Fazy twórczości Henryka Hubertusa Jabłońskiego — propozycja klasyfikacji

Kinga Kiwała, Pokolenie Stalowej Woli. Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń. Studia estetyczne, Kraków 2019 Akademia Muzyczna w Krakowie, ss. 449. ISBN 978-83-62743-87-2

Bolesław Wallek-Walewski i jego twórczość religijna na chór mieszany

Danuta Gwizdalanka, 'Uwodziciel. Rzecz o Karolu Szymanowskim' [The Seducer: A Book about Karol Szymanowski], Kraków 2021 Polskie Wydawnictwo Muzyczne, pp. 851. ISBN 978-83-224-0985-5

Kategoria felicitas w świetle twórczości polskich kompozytorek

Art Attractive for the Masses or Fetters of the Artistic Freedom? Elements of Folklore in the Music of Polish Socialist Realism