Archives and blank spots: scholarly perspectives for recovering Polish music (1794–1945)

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Marcin Gmys

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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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Marcin Gmys, Institute of Musicology, Faculty of Arts, Adam Mickiewicz University, Poznań

Marcin Gmys – professor on the Institute of Musicology of Adam Mickiewicz University in Poznań. Awarded his PhD (2001) and habilitation (2013) by Adam Mickiewicz University. He specializes in the music of the French Revolution, Polish opera of the nineteenth century (especially by Karol Kurpiński and Stanisław Moniuszko), the music of the Polish modernist movement (‘Young Poland in music’) and contemporary music (especially the work of Paweł Mykietyn, Thomas Adès, Henryk Mikołaj Górecki, Krzysztof Penderecki and Paweł Szymański). He has published the following books: Technika teatru w teatrze i jej operowe konkretyzacje [Play Within the Play and Its OperaticImplementations] (Toruń, 1999 and 2000), Poetyka teatru operowego Ferruccia Busoniego [ThePoetics of Ferruccio Busoni’s Operatic Theatre] (Poznań, 2005), Harmonie i dysonanse. MuzykaMłodej Polski wobec innych sztuk [Harmonies and Dissonances. Young Poland Music and OtherArts] (Poznań, 2012), Karol Kurpiński i romantyczna Europa [Karol Kurpiński and Romantic Europe](Warszawa 2015), Nie tylko ‘Rota’. Feliks Nowowiejski i jego muzyka [Not Just ‘Rota’. Feliks Nowowiejski and His Music] (Kraków 2017). He is also co-author (together with Agnieszka Kręglicka)of popular science bilingual book Moniuszko w kuchni / Moniuszko in the Kitchen (Warszawa2019), editor-in-chief of ‘Res Facta Nova. Studies in Contemporary Music’ (since 2012) and Polish Radio Chopin (since 2017).

Bibliografia

  1. Cywińska-Rusinek, J. (2019). Henryk Opieński (1870–1942) – życie i twórczość. Studium monograficzne na podstawie materiałów źródłowych z archiwów szwajcarskich [Henryk Opieński (1870–1942) – Life and Work. A Monographic Study Based on Source Materials from the Swiss Archives], doctoral thesis. Poznań: Instytut Muzykologii UAM.
  2. Fokt, I. (2019). Feliks Nowowiejski. Biography. (B. Brodniewicz, Trans.). Poznań: Wydawnictwo Miejskie Posnania.
  3. Gmys, M. (2015). Karol Kurpiński i romantyczna Europa [Karol Kurpiński and Romantic Europe], Warszawa: Editions Spotkania.
  4. Gołąb, M. (2004). Józef Koffler. Compositional Style and Source Documents. (M. Kapelański, L. Schubert, M. Żebrowski, Trans.). Los Angeles: Friends of Polish Music.
  5. Gołębiowska, J. (2014). Kwartet smyczkowy w muzyce polskiej XIX wieku [String Quartet in PolishMusic of the 19th Century], doctoral thesis. Poznań: Katedra Muzykologii UAM.
  6. Mazur, K. (1993). Wstęp [Introduction]. In S. Moniuszko. Muzyka Instrumentalna I, Dzieła, tom 32 [Instrumental Music I. Works, vol. 32], Kraków: Polskie Wydawnictwo Muzyczne.
  7. Zieziula, G. (2015). Od ‘francuskiej’ Bettly do ‘niemieckiej’ Die Schweitzerhütte – obcojęzyczne opery Stanisława Moniuszki [From ‘French’ Bettly to ‘German’ Die Schweitzerhütte – foreign operas of Stanisław Moniuszko]. Muzyka, 60, 69–96.