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POLISH MUSICAL CRITICS ON SOME TECHNICAL AND AESTHETIC CONCEPTS OF THE SECOND AVANT-GARDE. OPINIONS AND PROPOSITIONS :(Polska krytyka muzyczna wobec wybranych koncepcji warsztatowo-estetycznych drugiej awangardy. Opinie i postulaty)

100%

Ciolkiewicz U.

Przegląd Muzykologiczny

2006

issue 6

155-183

This article focuses on the writings of five Polish critics: Stefan Kisielewski, Zygmunt Mycielski, Adam Walacinski, Tadeusz Andrzej Zielinski, and Leszek Polony. While analysing their writings on the musical avant-garde in Poland from the middle of the 1950s up to the 1970s the authoress argued that, in spite of being interested in the avant-garde innovations, such as aleatorism and 'open' form, all five critics approached the radical novelties with some reserve. Their approach, which reflected their own aesthetic views (and their system of values), was the idea of a musical work as a coherent, that is artistically integral, whole. They all were searching for this integrity especially on the level of form, but also on the aesthetic level, including the spiritual realm of a musical work. As far as the latter is concerned, some of the Polish critics, such as Stefan Kisielewski, represented autonomous aesthetics in the spirit of Eduard Hanslick, whereas others, such as Leszek Polony - the heteronymous one. What united the attitudes of all five critics, apart from the nuances of their individual aesthetic approach, was the proposition of the integrity of art. While witnessing the growing presence of the avant-garde, they were unanimously aware of the necessity for music to be rooted in cultural tradition, more precisely - in the classical-romantic tradition, which they considered as a source of music's humanist and even sacred character. The concluding point of the article is the question of the possible impact of the writings of the five Polish critics on the output of Polish composers of that time. Yet although it is impossible to point out a direct connection between these two groups, one cannot totally deny the existence of a deeper impact of the critics on the composers in the sphere of aesthetic ideas, which then could have been transformed into practical, compositional choices.

O DIELE, KTORÉ NEBEZPEČNE PREDBEHLO DOBU A NEPODPÍSALO ŽIADNU ZMLUVU S DIABLOM

88%

Glocková M.

ESPES

2014

vol. 3

issue 2

37 – 42

This work was created in merry Czechoslovak, and for a “Faustian” experiment also favouring sixties. In the hindsight we may call the Octagon (1962) by Ladislav Kupkovič, being the brightest artistic persona of then new music and the initiator of non-formal group Music of today, a parable of good and bad, not only in production but also in authors personal life. In the time of the creation and after a “little while” of liberty the author immigrated to West Germany and his work of art became a symbol of two phenomenon of an age that represented the social and also political relationships. They also documented the political animosities of seventies, creating the pressure from Kremlin and the society was under the influence of normalization.

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POLISH MUSICAL CRITICS ON SOME TECHNICAL AND AESTHETIC CONCEPTS OF THE SECOND AVANT-GARDE. OPINIONS AND PROPOSITIONS :(Polska krytyka muzyczna wobec wybranych koncepcji warsztatowo-estetycznych drugiej awangardy. Opinie i postulaty)

O DIELE, KTORÉ NEBEZPEČNE PREDBEHLO DOBU A NEPODPÍSALO ŽIADNU ZMLUVU S DIABLOM