Many talented people live in Poland. Famous musicians, artists and artists come from there. Many of us have heard their names.
Polish composers became famous all over the world in the 19th century. It was then that Chopin lived and worked. After him, many more names of Poles were inscribed in the history of world music. Let's talk about the most famous of them.
Use of Polish folklore
It is impossible to start a story about the composers of this country without mentioning Chopin. He was born near Warsaw, and ended his life in Paris. The famous Polish composer and pianist is remembered by world culture for his works, which are now played by leading pianists around the world. He used Polish folklore and romantic motifs in his work. He was distinguished by a special technique of playing the piano, which is now widely used by European pianists.
Later, another composer from that country, Stanislav Moniuszko, began to write his works in the same direction. In the 19th century, he also wrote songs that can still be heard from the stage. Most of his works can be heard at the Moniuszki Festival.
How World War II Changed Music
Until 1939, Polish composers worked and actively collaborated with colleagues from other countries. At the beginning of the 20th century, the most famous competitions were founded, which gave the world many new performers. So, Dmitri Shostakovich made his debut at the Chopin Competition in Warsaw.
Before the outbreak of World War II, bright and emotional music was popular. Everyone was familiar with the name of Karol Szymanowski. His ballet "Harnasi" thundered all over Europe at that time. Folklore motifs were still felt in it, but there was no political coloring.
It was precisely because of politics that many Polish composers emigrated to other countries after the start of the war. They did not want to limit themselves in creativity and compose music for certain dates. However, even at that difficult time, there were people who knew how to oppose the political regime: Grazhyna Batsevich, Lutoslavsky and Boleslav Shabelsky. Witold Lutoslavsky, even after the end of the war, did not change his favorite direction in creativity - romanticism. He wrote light works with a refined sound.
Sonorism
The political thaw came only in 1956. At this time, Polish composers got the opportunity to create without restrictions. The most famous cultural figures of that time were Tadeusz Biard and Kazimierz Sierocki. But they not only glorified their country, but also established the Warsaw Autumn festival. It is considered popular and prestigious to this day.
Well-known Polish composers experimented a lot with sound after the war. They wanted to follow European culture, as a result of which the direction "sonorism" was born. This is a special technique for building compositions. At the heart of new works only sound shades began to be used. This is how avant-garde art was born in Poland. The flagship and the brightest representative of this trend was Krzysztof Penderecki. He used for his works not only the musical range, but also the sounds of nature, the squeal of a saw, the rumble and clatter of a typewriter. The first impression of the public was a shock, but later the works of this composer entered the history of world musical culture.
Wojciech Kilar and minimalism
The music of Polish composers is used not only on the big stage. Many authors wrote it for films and religious holidays. Avant-garde creativity continued to exist in the seventies. Then Wojciech Kilar gained popularity. He wrote his works not only for popular Polish films, but also for orchestra performances. Music lovers all over the world highly appreciated his avant-garde poem "Kshesany" related to the direction of minimalism. It is characterized by avarice of form and content. For forty years now, the poem has remained a favorite work of many.
Kilar's later works remain devoted to minimalism. Critics note that the musical language of this composer is distinguished by accuracy and special brightness. He does not need to come up with complex forms to win over his listener. In his work, Wojciech used the folklore heritage of the Polish highlanders. Kilyar's bright compositions of various thematic orientations are often used in modern Polish films.
Frederic Chopin, the greatest Polish composer and pianist, was born on March 1, 1810.CHOPIN, FRYDERIK FRANCISHEK (fr. Chopin, Frderic Franois; Polish. Szopen, Fryderyk Franciszek) (1810-1849), a Polish composer and pianist who lived and worked in France for a long time (this is why the French transcription of his name was fixed). Chopin is the only one of the few composers who actually composed only for the piano. He did not write an opera or a symphony, he was not attracted by a choir group, and there is not a single string quartet in his legacy. But his countless piano pieces in various forms - mazurkas, polonaises, ballads, nocturnes, etudes, scherzos, waltzes and the rest - are universally recognized masterpieces. Chopin was a real innovator, often departing from classical rules and norms. He created a newly minted harmonic language and discovered forms designed to accommodate a new, romantic content.
Life. Fryderyk Chopin was born in 1810, apparently on February 22, in Zhelyazova Wola near Warsaw. His father Nikol (Mikolay) Chopin, a French immigrant, served as a tutor and school teacher; Mom was brought up in a noble family. Already as a child, Chopin showed bright musical abilities; at the age of 7 he was taught to play the piano, and in the same year a small-grass polonaise in G minor, composed by him, was published. Soon he became the darling of all the aristocratic salons in Warsaw. In the rich houses of the Polish nobility, he acquired a taste for luxury and emphasized sophistication of manners.
In 1823 Chopin entered the Warsaw Lyceum, continuing to study music privately with Joseph Elsner, director of the Warsaw Conservatory. In 1825 he was invited to appear before the Russian Emperor Alexander I, and after that he received an award - a diamond ring. At the age of 16, Chopin was admitted to the conservatory; her graduation in 1829 formally completed Chopin's musical education. In the same year, in an effort to acquaint publishers and the public with his art, Chopin gave two concerts in Vienna, where critics highly appreciated his works, and ladies - excellent manners. In 1830, Chopin played three concerts in Warsaw, and after that he went on a trip to Western Europe. While in Stuttgart, Chopin learned about the suppression of the Polish uprising. It is believed that the fall of Warsaw was the reason for composing a C minor etude, what is called "revolutionary". This happened in 1831, and then Chopin never returned to his homeland.
Listen or download Frederic Chopin Waltz Op.64 No. 2 for free on Prostopleer
In 1831 Chopin settled in Paris. He liked to perform at the homes of his friends and patrons, although he often spoke of them with irony. He was highly regarded as a pianist, especially when he performed his own music in small home gatherings. In his entire life, he gave no more than three dozen public concerts. His performing style was original: according to contemporaries, he was distinguished by an extraordinary rhythmic will - Chopin was, so to speak, a pioneer of rubato, he articulated a musical phrase with great taste, prolonging some sounds by reducing others.
Listen or download Waltz N2 in B Minor I Can Play for free on Prostopleer
In 1836 Chopin went to the Czech Republic to see his parents. While in Marienbad, he became infatuated with the young Polish Maria Wodzińska. However, their engagement was soon broken off. In the autumn of the same year in Paris, he met an outstanding woman - Baroness Dudevant, about whose life in Paris there was a lot of gossip and who by that time had gained wide literary fame under the pseudonym George Sand. Chopin was then 28 years old, Madame Sand - 34. Their union lasted eight years, and they spent most of this time at the writer's family estate in Nohant. A nightmare for Chopin, who was not distinguished by good health, was the winter of 1838-1839, lived with George Sand in Mallorca (Balearic Islands). The combination of unfavorable weather with the disorder of the household seemed to have had a devastating effect on his already tuberculosis-ridden lungs.
Listen or download Frederic Chopin Nocturne №2 for free on Prostopleer In 1847, Chopin's relationship with George Sand was drastically damaged by the musician's interference with his girlfriend's relationship with his children from his first marriage. This situation, together with a progressive illness, plunged Chopin into a state of black melancholy. He last spoke in Paris on February 16, 1848. Eight days later, a revolution broke out that overthrew King Louis Philippe. The composer's friends took him to England, where, already ill, he played with Queen Victoria and gave a few concerts - the final one took place on November 16, 1848. A week later he returned to Paris. Unable to give any more lessons, Chopin was forced to accept generous support from his Scottish admirer Jane Stirling. The composer's sister, Ludwika, came from Poland to take care of the patient; French friends did not leave him any attention either. Chopin died in his Parisian apartment on Place Vendôme on October 17, 1849. In accordance with his desire, at the funeral service in the church of St. Madeleine heard fragments of Mozart's requiem.
Music. Chopin's composing technique is unconventional and largely deviates from the rules and techniques adopted in his era. Chopin was an unsurpassed creator of melodies, he was one of the first to introduce Slavic modal and intonational elements hitherto unknown to Western music and thus undermined the inviolability of the classical harmonic system that had developed by the end of the 18th century. The same goes for rhythm: using the formulas of Polish dances, Chopin enriched Western music with new rhythmic patterns. He developed purely individual - laconic, self-contained musical forms that best corresponded to the nature of his equally original melodic, harmonic, rhythmic language.
Impromptu
Piano pieces of small forms. These pieces can be conditionally divided into two groups: predominantly "European" in melody, harmony, rhythm, and distinctly "Polish" in color. The first group includes most of the etudes, preludes, scherzos, nocturnes, ballads, impromptu, rondos and waltzes. Specifically Polish are mazurkas and polonaises.
Chopin composed about three dozen etudes, the purpose of which is to help the pianist overcome specific artistic or technical difficulties (in particular, in playing passages in parallel octaves or thirds). These exercises belong to the highest achievements of the composer: like Bach's Well-Tempered Clavier, Chopin's etudes are brilliant music, brilliantly revealing the possibilities of the instrument; didactic tasks fade into the background, often they are not remembered.
Although Chopin first mastered the genres of piano miniatures, he did not limit himself to them. So, during the winter spent in Mallorca, he created a cycle of 24 preludes in all major and minor keys. The cycle is built on the principle “from small to large”: the first preludes are laconic vignettes, the last ones are real dramas, the range of moods is from complete serenity to furious impulses. Chopin wrote 4 scherzos: these large-scale pieces, filled with courage and energy, take pride of place among the masterpieces of piano literature. More than twenty nocturnes belong to his pen - beautiful, dreamy, poetic, lyrical revelations. Chopin is the author of several ballads (this is a genre of a program character), impromptu, rondos are also presented in his work; his waltzes are especially popular.
"Polish" genres. Chopin impressed Paris with his original mazurkas and polonaises, genres that reflected Slavic dance rhythms and the harmonic language common to Polish folklore. These charming, colorful pieces brought a Slavic flavor to Western European music, which changed those harmonic, rhythmic and melodic schemes that the great classics of the 18th century. left to their followers. Chopin composed more than fifty mazurkas (their prototype is a Polish dance with a triple rhythm, similar to a waltz) - small pieces in which typical melodic and harmonic turns sound in Slavonic, and sometimes something oriental is heard in them. Like everything written by Chopin, the mazurkas are pianistic and require great skill from the performer - moreover, they do not contain obvious technical difficulties. The polonaises are larger than the mazurkas both in length and texture. Polonaise-fantasy and polonaise, known as "military", would be entirely enough to give Chopin one of the first places among the most original and skillful authors of piano music.
Revolutionary study
Large forms. From time to time Chopin turned to major musical forms. Perhaps his highest achievement in this area should be considered an excellently built and very convincing dramaturgy fantasy in F minor, composed in 1840-1841. In this work, Chopin found a model of form that fully corresponded to the nature of the thematic material he had chosen, and thus solved a problem that was beyond the power of many of his contemporaries. Instead of sticking to the classical patterns of sonata form, he allows the idea of the composition, the melodic, harmonic, rhythmic features of the material to prepare the structure of the whole and the ways of development. In the barcarolle, the only Chopin work of this genre (1845-1846), the whimsical, flexible melody in the 6/8 time signature, typical for the songs of the Venetian gondoliers, varies against the background of an unchanging accompaniment figure (in the left hand).
Chopin wrote three piano sonatas. The first, in C minor (1827), is a youthful work that is now rarely performed. The second, in B minor, appeared a decade later. Its third movement is a world-famous funeral march, and the finale is a whirlwind of octaves, close to "the wind howling over the graves." Considered a failure in form, the Second Sonata, performed by great pianists, appears as a strikingly unified work. Chopin's last sonata, in B-flat minor (1844), has a through structure that unites its four movements and is one of Chopin's highest achievements.
Other writings. Chopin also owns a number of works for piano and orchestra and a few chamber pieces. For piano and orchestra, he created Andante spianato and a polonaise in E-flat major, two concertos (E minor and F minor), a rondo-krakowiak, and also variations on a theme by Mozart, La ci darem la mano (an aria from the opera Don Giovanni). Together with the cellist A.J. Franchomme, he composed the Grand Concert Duo for Cello and Piano on themes from Meyerbeer's opera Robert the Devil, a sonata in G minor, an introduction and a polonaise for the same composition, and also a trio in G minor for piano, violin and cello. Chopin created a number of songs for voice and piano to Polish texts. In all compositions with the orchestra, the author's inexperience in the field of instrumentation is evident.
national operas and songs that can still be heard from the stage. Most of his works can be heard at the Moniuszki Festival.
How World War II Changed Music
Until 1939, Polish composers worked and actively collaborated with colleagues from other countries. At the beginning of the 20th century, the most famous competitions were founded, which gave the world many new performers. So, Dmitri Shostakovich made his debut at the Chopin Competition in Warsaw.
Before the outbreak of World War II, bright and emotional music was popular. Everyone was familiar with the name of Karol Szymanowski. His ballet "Harnasi" thundered all over Europe at that time. Folklore motifs were still felt in it, but there was no political coloring.
It was precisely because of politics that many Polish composers emigrated to other countries after the start of the war. They did not want to limit themselves in creativity and compose music for certain dates. However, even at that difficult time, there were people who knew how to oppose the political regime: Grazhyna Batsevich, Lutoslavsky and Boleslav Shabelsky. Witold Lutoslavsky, even after the end of the war, did not change his favorite direction in creativity - romanticism. He wrote light works with a refined sound.
Sonorism
The political thaw came only in 1956. At this time, Polish composers got the opportunity to create without restrictions. The most famous cultural figures of that time were Tadeusz Biard and Kazimierz Sierocki. But they not only glorified their country, but also established the Warsaw Autumn festival. It is considered popular and prestigious to this day.
Well-known Polish composers experimented a lot with sound after the war. They wanted to follow European culture, as a result of which the direction "sonorism" was born. This is a special technique for building compositions. At the heart of new works only sound shades began to be used. This is how avant-garde art was born in Poland. The flagship and the brightest representative of this trend was Krzysztof Penderecki. He used for his works not only the musical range, but also the sounds of nature, the squeal of a saw, the rumble and clatter of a typewriter. The first impression of the public was a shock, but later the works of this composer entered the history of world musical culture.
Wojciech Kilar and minimalism
The music of Polish composers is used not only on the big stage. Many authors wrote it for films and religious holidays. Avant-garde creativity continued to exist in the seventies. Then Wojciech Kilar gained popularity. He wrote his works not only for popular Polish films, but also for orchestra performances. Music lovers all over the world highly appreciated his avant-garde poem "Kshesany" related to the direction of minimalism. It is characterized by avarice of form and content. For forty years now, the poem has remained a favorite work of many.
Kilar's later works remain devoted to minimalism. Critics note that the musical language of this composer is distinguished by accuracy and special brightness. He does not need to come up with complex forms to win over his listener. In his work, Wojciech used the folklore heritage of the Polish highlanders. Kilyar's bright compositions of various thematic orientations are often used in modern Polish films.
THE GREAT POLISH COMPOSER PIANIST-VIRTUOSIS, TEACHER, INNOVATOR, SINGER OF ONE INSTRUMENT, FREDERICK CHOPIN, UNRIVALED AND FAVORITE BY MEFrederic Chopin
- Polish composer and pianist, one of the greatest musical geniuses
Frederic Franciszek Chopin
in Zhelyazova Wola near Warsaw.
He grew up surrounded by music and already at the age of 5 he confidently performed simple pieces. Soon the famous musician V. Zhivny became his teacher. A sensitive and experienced teacher instilled in his student a love for classical music
.
Chopin successfully graduated from the Lyceum and the Higher School of Music, where he was taught by the composer I. Elsner.
During his studies, Frederic wrote many piano works. By this time he had already been recognized as the best pianist in Poland. Critics highly appreciated his work, and ladies - excellent manners. Chopin traveled extensively in Europe, gave concerts and composed new works Sergei Kuznetsov plays Chopin's 24 Preludes
From 1831, Chopin lived permanently in Paris, striking him with his original mazurkas and polonaises, genres that reflected Slavic dance rhythms and the harmony of Polish folklore. He was highly regarded as a pianist, especially when he performed his own music.
In the most significant works of Chopin of the Parisian period, heroic-dramatic images predominate, the music is saturated with the depth of emotions, the strength and breadth of images.
24 studies
The tragic climax in the works of Chopin was the famous "Funeral March", which entered the funeral ritual all over the world.
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iflash=420,315,http://www.youtube.com/embed/aHXkVEAjB6o]
Grigory Sokolov plays Chopin Sonata #2, B-flat minor, Op. 35 (3/3)
By 1838-1846, the highest flowering of the composer's work belongs. It was during this period that his most perfect and significant works were created in various genres of piano music. Fryderyk Chopin. Concerto No. 1 for piano and orchestra
He continued to give concerts, but much less frequently, limiting himself to performing in a narrow circle of friends, devoting himself entirely to writing. F. Chopin.
Concerto No. 2 in F minor.
Nikolay Lugansky
In recent years, Chopin's life was complicated by a difficult financial situation and lung disease. He almost stopped writing, and Chopin gave his last concert in the autumn of 1848 in London in favor of Polish emigrants.
Many famous artists and writers of that time bowed to Chopin:
All nocturnes
composers:
Franz Liszt, Robert Schumann, Felix Mendelssohn, Adolf Meyerbeer, Ignaz Moscheles, Hector Berlioz, singer Adolf Nurri, poets Heinrich Heine and Adam Mickiewicz, artist Eugene Delacroix, journalist Agathon Giller and many others.
where he was buried in the Pere Lachaise cemetery.
The composer's heart, according to his dying will, was transported to Warsaw
and immured in one of the columns of the Church of the Holy Cross.
F.Chopin - Polonaise op.40 no.1 (Military), F.Chopin - Polonaise op.40 no.1
Bliss!
Brilliant, fluttering sound, ease and grace, elegance and the subtlest understanding of Chopin's music style!
The middle part of Fantasie -Impromptu was performed at a more mobile pace and light,
approaching non legato sound.
The pianist convinced me with just such an interpretation of the middle movement - the work won in integrity, it sounded in one breath "like a fleeting vision."
In many other interpretations, the middle part sounded slow and too cantabile, which lulled the listeners and destroyed the unity of the composition. So why was I chasing other interpretations?
I don't think it's wrong. After that, I consciously returned to Horowitz, appreciating him as an outstanding pianist and musician. When listening to new performers, it is useful to periodically return to the masters of the past - after all, their art has stood the test of time, and this testifies to the truth of their talent and skill." Svetlana Davydova
Polish music. culture is one of the oldest glories. music cultures. The earliest information about the existence of P. m. is contained in the travel notes of the Arab. merchants (Ibn Fadlan and others) who traded on Polish lands in the 7th century. By the same time are found in the archaeological. excavations in Poland, a bone whistle with 5 playing holes and fragments of a flute; 12th c. 5-strings discovered near Gdansk are dated. harp. Memories of him. monks (early Middle Ages) who traveled in the district of the river. Vistula, testify to the existence of Polish pagan songs. Rudiments of ritual songs associated with the pagan cult of nature have been preserved in Polish song folklore of the same time (in labor folk songs there are names of pagan deities - Lado, Mazhanna, etc.). Even at the earliest stage of development of Nar. P. m. in song images, intonations, chants and modal features, a commonality with the songs of other glories was manifested. peoples. About ancient origins. songs included in the folklore decomp. r-new modern. Poland, testify trichord chants, pentatonic mode.
Nar. P. m. is monophonic. For her, a close connection between song and dance is typical; pl. nar. the tunes are a dance. melodies. A 3-beat dotted rhythm with a shift in emphasis from a strong beat to a weak one and a 2-beat syncopated rhythm are characteristic. There are also other rhythms - in ancient thoughts, ceremonial and cross. labor songs. Some old bunks are close to ancient samples. tools that have been preserved in modern Polish villages - beaters, whistles and flutes, on which, accompanied by small tambourines, ritual melodies, bells and shepherd's pipes are performed. Nar. music the instrumentation is varied. Among the old bunks. instruments: strings. bowed - violins, gensle, mud huts, marinas, etc .; wind instruments - ligavs, ligavkas, basses, dudes (bagpipes); percussion - wooden "screams" (rattles), large and small tambourines. Tool music became widespread in the people. everyday life. Wandering Nar. musicians and instr. ensembles in cf. centuries were constant participants in village festivals and festivities. Popular ancient bunks. dances: khodzony (predecessor of the polonaise), mazurka, kujawiak, oberek, krakowiak. For dance. P. m is characterized by a change of slow movement (taniec chdzory) and fast movement (taniec goniony); the dance section in fast movement is built on rhythmic. variation of the same melody.
Khizatsky Kuyavyak (recorded 1932).
Mazur (recorded 1935).
Dance of the Hodzon (recorded 1934).
Krakowiak from Kielce.
Mazur from Tarluva. (Collection of O. Kolberg "People ...", vol. 2, p. 139, No. 168).
Krakowiak from Opatow. (Collection of O. Kolberg "People ...", vol. 2, p. 137, No. 166).
Hodzon dance from Lubranec. (Collection. O. Kolberg "The People ...", v.4, p. 95, No. 172).
Polonaise from Wloclawek. (Collection of O. Kolberg "People ...", vol. 4, p. 77, No. 131).
Kuyawiak from Koval. (Collection of O. Kolberg "The People...", vol. 4, p. 92, No. 166)
Polish music. folklore was widely used by many. Polish composers, as well as composers from other countries; are still being addressed to him. Based on creative the implementation of the characteristic elements of Nar. P. m. (especially national dance music) Polish, Russian. and German. composers created polonaises, mazurkas, and other works. (polonaises were written by J. S. Bach, G. F. Telemann, I. F. Kirnberger and others). The influence of Nar. P. m. is especially noticeable in the works of F. Chopin, S. Moniuszka, K. Szymanowski. Rus. composers used Polish. melodies in his operas ("Ivan Susanin", "Boris Godunov", "Pan Governor", "Eugene Onegin"); in Polish nar. melodies are also based instr. plays by M. I. Glinka, A. A. Alyabyev, A. N. Verstovsky, P. I. Tchaikovsky, A. K. Glazunov, A. K. Lyadov and others. music art is also reflected in the music of owls. composers B. N. Lyatoshinsky, V. S. Ivannikov, M. V. Koval, M. S. Weinberg, S. A. Kondratiev and others.
Prof. P. m. began to develop from the 9th century. Together with Catholicism, Gregorian chant penetrated into Poland. In the 11th-12th centuries. in different Polish lands appear missals, collections of Gregorian chants ("Sacramentarium") from Tynets and "Episcopal" ("Pontificale", 1110), compiled by Krakow bishops, Sat. liturgical Catholic songs, so-called. "Evangelic" ("Ewangeliarz", 1130), from Płock (in non-mental notation). At the cathedrals in Gniezno, Krakow, Plock, Krushwitz, Trzemeshn, Poznań, choirs, accessible to the general population, were opened. schools, students to-rykh introduced the intonations of nar into Gregorian chant. music; local varieties of liturgics arose. chants - Krakow, Gniezno and other chorales are known. The influence of Nar. music the art was especially manifested in the mysteries (from the 12th century) performed by itinerant seminarians, amusements (joculators), and other people. musicians; seminarians sang in Latin. lang., jokers - in Polish. Dogma of the Catholic churches could not stop the development of original bunks. music lawsuit.
Simultaneously from the church music developed and adv. secular art; the first mention of adv. instr. chapels, dances, military. music, about spectacles with music belong to the 12th century. In the 13th century knightly songs arose (servents, etc.), which received special distribution at the court of King Boleslav Krivoust. Under the influence of Nar. music creativity arose Polish vneliturgich. spiritual song. Its earliest example is the "Virgin Mary" (music notation refers to 1407), which soon became military patriotic. the song of the Polish knights who sang it during the Battle of Grunwald in 1410. The melody of "The Virgin" resembles the song of the French. trouveur J. de Bruyne (perhaps this indicates the penetration of the influence of the work of troubadours and trouveurs into P. m.). By the 13th century include early examples of sequences (280 texts and about 80 melodies have been preserved).
The first well-known author of Polish spiritual songs (2nd half of the 13th century) was a member of the Dominican order, the composer Vincenty from Kielce. His work, like the work of many contemporary anonymous composers testifies to the strong influence of Polish music. folklore. Penetration of Nar. elements in religion. P. m. so intensified that specials were published. episcopal edicts forbidding the clergy to "associate with comedians and musicians."
In the beginning. 14th c. the first samples of Polish polyphony appear - cult Catholic. genres: 2 so-called. praise "Praise the Lord" ("Benedicamus Domine"), "lesson" "We are all mortal" ("Una cunctis leticia") and conductus "Now Christ has ascended" ("Surrexit Christus hodie"). From the 15th century polygonal development begins. wok-instr. P. m. An outstanding master of it was Mikolaj from Radom, the author of secular and spiritual works. (Magnificat, etc.), in which, along with the influence of Nar. P. m. ars nova and burgundy-flam composers. schools (see Dutch school).
From the 14th century mountains develop. music culture; growing number of prof. musicians from the mountains. petty bourgeois, to-rye are united in guilds and from the 16th century. in the workshops of trumpeters, flutists, drummers, etc. (mentioned in the city registers). Music center. the culture of Poland becomes its capital Krakow, where there were workshops of organists and organ builders; the songs of Jacque students ("Breve regnum igitur" and "Cracovia civitas") of the Krakow University (founded in 1364) became widespread. Music training. the sciences were conducted at the un-those according to the treatise of I. de Muris "Musica speculative". In the beginning. 16th century music theory was taught here by Sebastian from Felshtyn, Marcin Kromer from Bech, S. Monetarius and others. ki songs) and other musical publications, incl. popular religions. songs printed on the leaflets (the so-called druki ulotne; they were sold near churches, at fairs). In the 2nd floor. 16th century there were workshops for the production of music. instruments (B. Dobrutsky, M. Groblich the Elder, B. Keyher in Krakow, B. Dankvart in Vilnius). In the 16th century famous instr. the chapel of the Wawel Castle and the choir of the Wawel Cathedral in Krakow, the so-called. Rorantists (from the Latin name for the morning prayer "Rorate coeli" - "Pray to heaven"). The ensemble of Rorantists was created at the court of Sigismund Augustus (1543, consisted of 11 musicians).
With the spread in Poland of the ideas of the Reformation (from the second half of the 16th century) and the Renaissance, a new stage in the development of musical music was connected. Secular elements were strengthened in the music of the Polish Renaissance. There are songs such as the madrigal "Venus Above Me" ("Alec nade mna, Wenus") by Mikolay from Krakow (he was also the author of organ preambles), instr. music (dances for several instruments, preludes). OK. ser. 16th century collections appeared in tablature - organ Jan from Lublin (36 dances, etc., 1537-49), the monastery of St. Spirit in Krakow (1548), later Krakow lute, to-rye testified to the development in Poland decomp. dance forms. Polish dances are also contained in a number of it. Sat.
Thanks to these collections and other handwritten sources (they continue to be found in various Polish and foreign repositories), containing works. pl. Polish composers of the 16th century, Op. Sebastian from Felshtyn, Mikolaj from Chshanov, M. Vartetsky, K. Borek, Vaclav from Shamotul, M. Leopolita, M. Gomulka, T. Shadek, M. Paligonius, V. Gavara, A. Stanishevsky and others. There are 4-8 of them -Goal. masses, parts of masses, motets, lamentations, as well as dances and preambles (preludes) testify to the meaning. influence on P. m. ital. and netherl. polyphonic Renaissance schools.
With the king. the courtyard was served by Italian, Flam., German, later Polish trumpeters, fistulators (flutists), harpists, lute players, zither players, who cultivated decomp. genres of secular music; among them - Hungarian. lutenist and comp. Balint (Valenty) Buckfark, author of 2 collections of pieces for the lute, who served in the 1549-66 court. musician in Krakow. High prof. skill was distinguished by the singing of the Rorantists, who performed spiritual works. polyphonists ch. arr. ital. and netherl. schools. This op. opposed to production. composers associated with Protestantism and developing nat. claim. The Reformation, which caused in Poland in the 16th century. philosophic-religious so-called movement dissidents (not associated with Catholicism), contributed to the emergence of numerous. collections of religions one-headed and polygon. songs, the authors of which (b. h. unknown) sought to simplify the polyphonic. techniques, used the intonations of Nar. household music, melodies nat. dancing; they wrote songs only with Polish lyrics. Polish cantsionals became widespread.
The influence of the ideas of the Reformation was reflected in the work of Ts. Basylik, and especially in Op. means the most. Polish composer Ser. 16th century Wenceslas from Shamotul, whose music is Polish polyphonic. a cappella style reached its peak. His motets and other Op. wok. church genres that are distinguished by a subtle sense of harmony. style and use of imitation. techniques, emotional, close to the secular lyrics of Renaissance composers; they are written in Latin. texts ("In te Domine speravi" and others), while the spiritual songs he created in the period of closeness to Protestant circles are in Polish ("Kryste, dniu naszej swiatlosci"). An outstanding monument of homophonic-harmonic. style - comp. M. Gomulka Sat. 4-goal Psalms by David "Melodies of the Polish Psalter" (on Polish texts by J. Kokhanovsky, 1580). This psalter consists of 150 psalms in couplet form without complex imitations in the spirit of the secular songs of the Polish Renaissance (they typically combine the traditions of French chanson, Italian vilanelle, Polish spiritual song), as well as German. Protestant chant.
Simultaneously rapidly developed secular music - wok. and instrumental. Differences arose. according to the nature and theme of the songs - wedding, mourning, historical, satirical; "Hymn rokoszan Zebrzydowskiego" ("Hymn rokoszan Zebrzydowskiego", 1606) was popular. Among the genres of instr. P. m. - Ch. arr. dances, as well as organ preambles, published later in dec. foreign tablature collections - X. Neusiedler, E. N. Ammerbach, M. Weiselius, J. B. Bezard, I. X. Demantius and others. tablature collections printed prod. Polish comp. Diomedes Kato and outstanding lutenists V. Dlugorai, J. Polyak and others. The Polish dances published in these collections penetrated all Europe. countries. Many dances from Polish. tablature collection of Jan from Lublin are attributed to Mikolaj from Krakow. At the turn of the 16-17 centuries. organ canzones by A. Rokhachevsky appeared. His works, as well as Op. Heronim from Kopshivnitsa and A. Yazhembsky are contained in the org. tablature collection from Pelplin (1620, discovered in 1957; in total it contains about 100 works performed in Poland in the early 17th century, including works by many Dutch and Italian composers).
The victory of the Counter-Reformation led to the strengthening of the P. m. influences. With the king. yard, which in 1596 was transferred from Krakow to Warsaw, there was a chapel, consisting of Ch. arr. from ital. musicians (among composers and bandmasters are L. Marenzio, A. Pacelli, J. F. Anerio, M. Scacchi, V. Lilius, T. Merula and others). From the 16th century many served in the chapel. Polish musicians. Like a king. secular and church chapels. tycoons began to create their wok.-instr. chapels (ch. arr. in Jesuit monasteries). Among the Polish composers who came to the fore at the turn of the 16th-17th centuries are M. Zelensky, a master of the polychoir technique of writing, who developed in his offertorias, communiones (polygoal chants included in Catholic worship) and other spiritual genres, concertante (concertante) polyphonic . wok-instr. Venetian school style. In 1628, at the court of Vladislav IV, the forces of the Italian. conductors, singers and orchestra members staged opera performances for the first time. adv. Italian Kapellmeister in Warsaw served for more than 30 years. musician M. Skakki (later Poles B. Penkel and J. Ruzhitsky). Foreign musicians who worked in Poland got acquainted with Polish music. culture and distributed in other countries Polish nar. melodies and national genres. P. m. was reflected in the work of the Austrian. comp. I. Schmeltzer ("Polish bagpipes", 1671), French. comp. F. Couperin (harpsichord piece "Song in Polish Taste", 1721), German. comp. G. F. Teleman ("Polish Trio Sonata") and others.
All R. 17th century in connection with the general economic decline caused by enemy invasions and wars, the opera troupe was disbanded, and in con. 17th century King August II of Saxony transferred the court and the chapel to Dresden (only occasionally the chapel performed in Warsaw and Krakow). Polish magnates and bishops began to create their own, often consisting of serfs, opera troupes, to-rye staged mainly foreign. operas. At this time, many Polish composers worked outside of Poland (J. Polyak, V. Dembolecki, A. Hylinski and others).
In parallel with adv. mountains also developed. music culture, as evidenced by the collection compiled in 1640 and containing 59 mountains. love and dance. songs (found in 1962). These songs differ strictly symmetrically. structure and rhythm. The lack of conditions for the development of the opera genre contributed to the increased interest of Polish composers in instr. music. Tool music was created by M. Melchevsky (vocal-instr. compositions, as well as multi-part canzones for violin with organ or harpsichord), M. Zelensky (3 instr. fantasies), A. Yazhembsky - composer, poet and courtier. architect, author of 28 canzones and concertos for chamber instruments. (ch. arr. strings.) Ensembles, as well as the poem "Stolbovaya Road, or Description of Warsaw", containing information about the front. music life. The representative of the Baroque style in P. m. is B. Penkel, the creator of the first in P. m. lat. oratorio-cantatas "Listen, mortals" ("Audite mortales"), the author of 9 masses, as well as 40 dances for the lute. Among other representatives of the early Polish baroque are D. Stakhovich, A. Pashkevich, and other composers who developed Ch. arr. spiritual concert genre. At the turn of the 17-18 centuries. the computer is pulled out. S. S. Shazhinsky (the first Polish church trio sonata - Sonata da chiesa, for 2 violins with general bass), G. Ya. Podbelsky (organ fantasy), G. Gorchitsky (Completorium and spiritual concerts).
In the beginning. 18th century renewed interest in the operatic genre, which goes beyond the boundaries of the court. lawsuit. Opening in 1724 in Warsaw spec. theater. room for post opera performances ("Operalnya"), where under the arms. Polish conductors also gave free performances (operas by M. Kamensky, J. D. Holland, J. Stephanie, etc.) for the gentry and townspeople, contributed to the democratization of the opera.
Dependent politician. the state of the country, the divisions of Poland, the growth of nat.-liberate. movement caused the emergence of patriotic. songs. Among them is "Dąbrowski's Mazurka" ("Mazurek Dabrowskiego"), which begins with the words "Poland has not yet died" ("Jeszcze Polska nie zginela") and became Nar. anthem of Poland (and Poland), songs of Polish rebels, incl. "Forward, quicker!", which was sung by the participants of the uprising under the arms. Kosciuszko (1794), "With the smoke of fires" (used by MP Mussorgsky in the song "The Commander" from the cycle "Songs and Dances of Death"). A century later, among the revolutionaries. will exclude the songs of the townspeople. K. Kurpiński's "Varshavyanka" (1831) won popularity.
In 1765, the "Tr Narodovy" was opened, with which the further development of the Polish nat. opera art. In it in 1778 there was a post. first Polish national opera - "Better Poverty" by M. Kamensky. In 1794 post. the opera "Cracowites and Highlanders, or an Imaginary Miracle" by J. Stefani (liberal, the founder of the Polish t-ra, playwright and actor V. Boguslavsky). The action of these operas takes place in the Polish countryside, and nar are widely used in the music. melodies and dances. National motifs continued to be developed by other opera composers. 18th century Simultaneously Polish singspiel, historical operas were created. content and drama. operas in classical stories, incl. "Faust" by A. Radziwill (the first opera in the history of European music, based on the plot of "Faust" by Goethe).
K ser. 18th century the first Polish symphonists came forward - priest Hilyara (the symphony was lost), J. Shchurovsky (c. 1740), later - A. Milvid (his symphonies were based on topics close to Ukrainian musical folklore), J. Golumbek, J. D Holland, J. Vansky, at the turn of the 18th-19th centuries. - V. Dankovsky, F. Scigalsky and others. It is known approx. 80 Polish symphonies written in the 18th century ch. arr. in the style of the composers of the Mannheim school and the early Viennese classical school, a characteristic feature of these symphonies is the use of nat. melodies in the final parts.
Chamber P. m. and the genre of Polish instr. classical concert. type laid the foundation for F. Yanevich, in the work of which the influence of his teacher J. Haydn is noticeable, and J. Klechinsky, in whose works. the influences of the gallant, early classic are combined. and pre-romantic styles. This is the same combination. influences are typical for the chamber art of F. Miretsky (the author of 8 operas, better known in Italy, and the 1st textbook on instrumentation in Poland). At the turn of the 18-19 centuries. fp starts to develop. music; the first Polish concert belongs to W. Lessel. Polonaises are widely spread. In this genre, the direct predecessor of F. Chopin was M. K. Oginsky, whose polonaises gained wide popularity throughout Europe. Among other authors of op. music of the pre-Chopin period - pianist M. Shimanovskaya, Yu. Deshchinsky, Yu. Kachkovsky and others, who wrote ch. arr. miniatures in the "brillant" style, polonaises, mazurkas, etudes, etc.; among the outstanding violin-composers of that time was the virtuoso K. Lipinski (he performed in the same concert with N. Paganini), the author of 4 Skr. concerts, as well as operas, symphonies, and other works, in which features of romanticism are palpable. Among their contemporaries are the violinist S. Servachinsky and the organist V. Goronchkevich. The activity of the composer, publisher, and teacher Yu. Elsner (teacher of F. Chopin), founder (1821) and director of the Institute of Music and Recitation (later a conservatory) was of great importance for the development of musical literature. Some of his operas were based on scenes from Polish history - "Leszek the White, or the Witch from Bald Mountain" (1809), "King Loketek" (1818), "Jagello in Tenchin" (1820). National his instr. works, especially sonatas, in which he introduced the mazurka and the Krakowiak.
Means. contribution to the development of P. m. 1st floor. 19th century brought in by the composer, conductor, teacher and musician. writer K. Kurpiński, c. For 30 years, he headed the opera theater in Warsaw and wrote 26 operas (including the historical Jadwiga, etc.), which are distinguished by their bright nat. color. He also wrote ballets, symphonies, overtures, songs; founded the magazine "Tygodnik Muzyczny" (1820).
Polish music is developing. ethnography. In 1843 priest M. Medushevsky published a collection of ancient religions. songs, carols and pastorals (with melodies). The founder of Polish music. ethnography was O. Kolberg, the author of the multi-volume work (38 volumes) "The people, their customs, way of life, language, legends, proverbs, rituals, spells, games, songs, music and dances" ("Lud, jego zwyczaje, sposub zycia, mowa, podania, przyslowia, obrzedy, gusla, zabawy, piesni, muzyka i tance", 1865-90). This work retained the importance of the most important source for studying the culture and life of the Polish people.
National aspirations of composers in con. 18 - beg. 19th centuries, development of the fp. genres, performance fp. music in concerts, the spread of home music-making, the publication of an extensive literature for the piano. - all this gradually paved the way for the flowering of creativity of the greatest representative of P. m. F. Chopin. Chopin is one of the founders of the Polish national composer school. His work has acquired world significance, determining the development of romanticism. fp. music. Chopin, who was himself an outstanding pianist, expanded his expression. possibilities of FP., enriched the technique of FP. games; based on modal and intonation. features of Nar. P. m., he expanded the harmonic. means and melodic European resources. music lawsuit. Chopin created new genres of fp. music, turned the prelude from an intro, a play into an independent one (a cycle of 24 preludes), developed and poeticized the Nar. dance the genres of mazur, polonaise, Krakowiak, filled with new, significant and often dramatized content etude and scherzo, introduced the genre of fp. ballads, interpreted the sonata form in a new way, was one of the founders of the romantic. sonata cycle. He embodied in music a diverse world of human feelings - dreamy, bright, romantic. lyrics, tragic sorrow, heroic impulses, bright cheerfulness. Chopin's work, ch. arr. his innovation in the field of harmony, had a huge impact not only on modern. him Polish and foreign. composers, but also on musicians of subsequent generations, up to the middle. 20th century (especially in Russian. Composers - M. A. Balakireva, A. K. Lyadov, A. N. Skryabin, etc.). Among Chopin's contemporaries are Y. Novakovsky, T. Nidetsky, A. Orlovsky, I. F. Dobzhinsky and other composers, whose work did not go beyond the nat. lawsuit.
Huge contribution to the opera and wok. P. m. was introduced by S. Monyushko. Based on art. traditions of Chopin, as well as M. I. Glinka and A. S. Dargomyzhsky, Monyushko finally approved the type of nat. Polish opera, having developed the peculiar features of the bunks. song and dance. music. National the nature of his operas is determined by the libretto, osn. on plots from Polish life with social conflicts characteristic of it ("Galka", 1847; "Pariah", 1860), they sound patriotic. motives ("Honest Word", 1860; "Terrible Yard", 1864, etc.). His operas, as well as wok. prod. (cantata "Visions" - "Widma") and instr. music, have retained their significance and are performed in Poland and other countries.
In the 1st floor. 19th century a Society of friends of nat. and religious music in Warsaw and the Society of Friends of Music in Krakow, who organized concerts, music and education. institutions, issues of music. education and enlightenment, propaganda of new muses. compositions.
All R. 19th century major violin virtuosos are being promoted - G. Venyavsky, creator of Skt. concerts, popular polonaises, etc., and Ap. Kontsky (founder and director of the Warsaw Music Institute, 1861-79). Ap brothers. and Ant. (pianist) The Kontskys were the authors of salon dances and other plays that became widespread. Among the composers of the 2nd floor. 19th century - Y. Zarembsky, also known as a pianist (student of F. Liszt), author of piano. quintet, polonaises and others. Prod., A. Stolpe, A. Rutkovsky and E. Pankevich. Wagnerian principles were introduced into Polish opera by H. Jarotsky (the musical drama Mindove; in other operas he developed the principles of Moniuszka). In symph. genres in con. 19 - beg. 20th century worked Z. Noskovsky (student of Moniuszka, teacher and muz.-social figure), the creator of the first Polish symphony. poems "Steppe", program symphonies, operas, 10 song cycles, etc., V. Zhelensky, author of program symphonies. prod. (including the overture "Forest Echo" and "In the Tatras") and orchestra. "Suites of Polish dances", in which the intonations of nar are used. P. m., wok.-symp. compositions and operas lyric character, songs on Nar. basis.
In 1901, the Warsaw Philharmonic was organized, which became the center for the dissemination of classical music. and modern symp. P. m. (philharmonic orchestra - the first permanent Polish professional team).
In the beginning. 20th century traditions of romanticism and neo-romanticism in the national. the spirit was developed by I. Ya. Paderevsky, who became famous as a pianist (piano works, songs, opera "Manru"), R. Statkovsky (6 string quartets), J. Gall (numerous popular choirs and songs), F. Shopsky, P. Mashinsky, M. Soltys (oratorios), V. Malishevsky (student of N. A. Rimsky-Korsakov), F. Novoveisky (church. production), Z. Stoyovsky and others.
At this time, virtuoso performers came to the fore, among them (in addition to Paderevsky) - the pianist N. Yanota, the violinist S. Bartsevich, the singers - the Reshke family, A. Bandrovsky-Sas, and others. The music becomes more intense and diverse. life. The science of music is developing: departments of musicology are being created at the Krakow (1911) and Lvov (1912) high fur boots; activity of private muses is activated. publishing house, the number of muses is growing. magazines, increasing interest in the ancient P. m. At the turn of the 19th and 20th centuries. creativity arises in Warsaw. group "Young Poland", which played an important role in the approval of nat. P. m. and contributed to the publication and performance of new Op. Polish composers and introducing Polish musicians to the latest trends in world music. lawsuit. For the promotion of the new P. m., the activities of the Warsaw permanent philharmonic were of great importance. orchestra (1901-14), headed by leading conductors and composers, as well as the Polish Music Publishing House. In addition to common ideological aspirations, the composers of "Young Poland" in the first years of its activity were united by characteristic stylistic. features: neo-romantic. trends in harmony and instrumentation, as well as programming. However, soon creative. the paths of the group members diverged: K. Shimanovsky first experienced a strong influence of the work of A. N. Scriabin, then R. Strauss and M. Reger, fr. Impressionists and early I. P. Stravinsky (ballet "Harnasi"), in a number of FP. prod. came to harmonica. complexity (3rd sonata, "Masks", "Metopes"); M. Karlovich remained within the neo-romantic. traditions (symphonic poems "Stanislav and Anna Auschwitz", "Lithuanian Rhapsody", "Episode at the Masquerade", "Returning Waves", symphony "Renaissance", etc.); L. Ruzhitsky in symphony. poems, distinguished by bright nat. color, developed some features of the style of R. Strauss.
A high level was reached by the performer. claim in con. 19th century In the 2nd floor. 19 and early 20th century nominated: conductors E. Mlynarsky, G. Fitelberg, V. Berdyaev; pianists T. Leshetitsky (better known as a teacher), A. Mikhalovsky, I. Hoffman, R. Kochalsky, I. Paderevsky, Yu. Turchinsky and others; violinists B. Huberman, P. Kochansky, I. Lotto and others; singers A. Didur, I. Dygas;
After Poland gained independence (1918), music was revived in the country. life: 3 conservatories worked (in Lvov, Katowice and Poznan), symphony was organized. orchestras, 3 opera t-ra, to-rye, however, experienced economical. difficulties ("T-r Wielki" was temporarily closed). Major performers came to the fore: pianists X. Sztompka, S. Shpinalsky, Z. Dzhevetsky; violinists I. Dubiskaya and E. Uminskaya; singers E. Bandrovska-Turska, J. Kiepura, and others. Outstanding conductors and violinists have toured in Poland; piano competitions. Chopin (Warsaw), since 1935 - violinists. G. Wieniawski (Poznan). The Union of Polish Composers was organized in 1930; in 1922, the 3rd department of musicology was opened - at Poznan University (headed by L. Kamensky). Among the leading musicologists of the 1920-30s. - A. Khybinsky, Z. Yakhimetsky, S. Lobachevskaya, X. Feucht. In the 1920-30s. the activity of K. Shimanovsky, who began his creative work, was of great importance. path in the 1900s. He had a great influence on the composers of the younger generation: improving in Paris, Berlin and Vienna, these composers were influenced by Stravinsky, French. neoclassicism and the new Viennese school (to a lesser extent). Composers grouped around Shimanovsky (S. Vekhovich, K. Sikorsky, B. Voitovich, T. Sheligovsky, Ya. Maklyakevich, B. Shabelsky, A. Malyavsky and others) were opposed by conservative-minded representatives of the older generation of musicians (P. Rytel , E. Moravsky, E. Mlynarsky, X. Meltzer-Shchavinsky, F. Novoveisky, S. Niewiadomsky and others). The struggle of these areas determined the musical societies. atmosphere of the 1930s Among the composers whose creative activity unfolded on the eve of the 2nd World War of 1939-45 are P. Perkovsky, M. Kondratsky, R. Palester, M. Spisak, T. Kassern, A. Malyavsky, as well as those who lived outside of Poland - A. Shalovsky, A. Tansman, K. Rathaus, E. Fitelberg, L. Rogovsky and others. Music began to appear. journals: scientific "Muzyka Polska" (1934-39), "Rocznik Muzykologiczny" (1935-36); popular "Spiewak" (until 1938), "Muzyka w szkole" (until 1939) and many others. etc. In 1939, for the first time in Warsaw, the festival of modern. music (since 1954 under the name "Warsaw Autumn").
2nd World War and 6-year-old fascist. occupation (1939-1945) almost completely paralyzed the muses. the life of the country. Muses. uch. institutions were closed (several music schools operated illegally), burned and partially taken to Germany by music. libraries and archives, destroyed or closed by conc. halls, concerts were given "only for the Germans" (however, illegal concerts were held in the private houses of the Poles). B. h. notes and manuscripts prod. modern composers died during the Warsaw Uprising (1944), composers and performers who found themselves in different parts of the country, deprived of instruments, stopped their activities.
After 1945, with the approval of the socialist. building in Poland began the restoration of muses. life and music. culture. Muses. institutions, having become state, received a solid financial base, their number soon exceeded the pre-war one, many new muses arose. institutions and teams in different cities of Poland. Resumed the work of the conservatory and other musical-educational. institutions, t-ry and orchestras of Warsaw, Krakow and other cities. There are 19 symbols functioning in Poland. orchestras, incl. 7 philharmonic, 8 opera t-ditch, 16 operetta t-ditch, 7 state. higher schools of music, ca. 120 secondary and elementary music. schools. Muses received a wide scope. amateur performance. Muses also contribute to the process of democratization of the art. radio and television broadcasts. From con. 1940s intensively develops conc. life. Numerous were created. wok. ensembles of early music: in Poznań (choir under the direction of Stuligrosh), in Krakow (the Krakovense chapel), in Wroclaw, Warsaw, Bydgoszcz, and in other cities. Actively give concerts also instr. ensembles of early music, incl. under the hand K. Toycha, Wilanowski quartet, Lazenkowski quartet, Warsaw quintet, chamber orchestra under the direction of. Yu. Maksimyuk and others. Reviews of the work of modern. Polish composers demonstrating their art (pl. op. in the spirit of the latest trends in world music) at the festivals "Poznan Spring", "Warsaw Autumn", "Wratislavia cantans" ("Singing Wroclaw"). Prominent musicians include: conductors V. Rovitsky, H. Chizh, Yu. Krenz, J. Katlevich, K. Kord, S. Wislotsky, as well as V. Mikhnovsky, Yu. Maksimyuk, Ya. Kaspozhak and others; pianists G. Czerny-Stefanska, V. Kendra, V. Hesse-Bukowska, R. Smendzhanka, J. Ecker, P. Palechny, H. Zimmerman and others; violinists E. Uminskaya, G. Batsevich, T. Vronsky, E. Statkevich, V. Vilkomirskaya, K. Danchevskaya, A. Kulka and others; singers S. Voitovich, V. Okhman, G. Lukomskaya, and others. In 1945, the Union of Polish Composers resumed its activities.
All R. 40-50s a new genre for P. m. emerged - the heroic-monumental symphony (Z. Tursky, A. Malyavsky, B. Voitovich, V. Lutoslavsky, B. Shabelsky, K. Serotsky, A. Panufnik, and others). The general upsurge of socialist culture. Poland was reflected in the character of the muses. lawsuit: pl. composers turned to the use of Polish music. folklore and the creation of a mass choir. and solo songs (T. Sigetinsky, A. Gradshtein, K. Serotsky and others). Conc. programs were designed for a wide audience. Features of the national style is especially pronounced in such orc. produced as "Little Suite", "Silesian Triptych" by Lutosławski, "Polish Symphony" (1950) by Z. Mycielski, 2nd symphony (with soloists and choir) by K. Serocki, "Country Symphony" ("Sinfonia rustica") A. Panufnik, 3rd symphony of X. M. Turetsky and others; cantatas "Cantata for the Glory of Labor" by B. Woitovich, "Two Cities - Warsaw - Moscow" by J. Krenz, "Wroclaw Cantata" by K. Vilkomirsky, "The Peasant Way" by V. Rudzinsky. All R. 50s In the work of the composers of the PPR, new heterogeneous tendencies appeared. A number of composers departed from folklore traditions. Some of them turned to neoclassicism, others used the technique of dodecaphony, as well as decomp. techniques of the latest Western European. music. Among them are K. Penderetsky, K. Serotsky, T. Bird, V. Kotonsky, A. Dobrovolsky, V. Shalonek. Prod. these composers received awards at the international. competitions and festivals, performed in many countries. The greatest fame was won by Lutoslavsky and Penderetsky. In the 60-70s. along with composers of the older generation, a number of young ones who have shown creativity are actively working. individuality in search of new means of expression. Among the first are X. M. Turetsky, Z. Rudzinsky, B. Matushchak, K. Nazar-Mogumanska, R. Tvardovsky, K. Meyer (a student of D. D. Shostakovich), M. Stakhovsky, Z. Buyarsky, B. Sheffer (the most "extreme" among experimental composers), Yu. Lutsyuk, A. Koshevsky, A. Bloch, Ya. Astryap. Among the young composers who successfully performed at the Warsaw Autumn festivals in the 70s were Z. Krause, T. Sikorsky, J. Fotek, I. Bruzdovich, M. Ptashinskaya, G. Pstrokonskaya, E. Knapik, A. Kshanovsky. In the work of many composers in the middle 70s there has been a departure from the purely sonoristic. techniques and appeal to style with emphatically melodic. elements (Z. Buyarsky, Bloch, Matushchak, etc.), as well as the use of elements of nat. nar. music (3rd symphony - "Mournful tunes" by Turetsky, "Kshesany" by Kilyar, etc.). More moderate representatives of the modern. currents in P. m. - T. Patserkevich, Dombrovsky, Kiselevsky, Koshevsky. Following Batsevich since the 60s. moved out many female composers - I. Bruzdovich, K. Nazar-Moshumanskaya, Pstrokonskaya, M. Ptashinskaya. Despite a number of differences in the direction of creativity. searches common to modern. Polish composing school are gravitation towards monumental forms, sharp expressiveness. A number of Polish composers permanently living outside of Poland, maintained and maintains cultural ties with their homeland, among them - M. Spisak (d. 1965), A. Shalovsky (d. 1973), M. Kondratsky, A. Tansman, S. Lyaks, F R. Labunsky, R. Macheevsky, R. Palester, A. Panufnik, S. Skrovachevsky. Their work, in its style and means of expression, belongs to P. m.
Scientific research in various areas of history and theory of music are studied by musicologists at the departments of Warsaw University (Z. Lissa, Yu. Since 1976, the Department of Musicology at Poznań University has been working again (J. Stenszewski, V. Kaminsky, K. Michalowski). Among the younger generation of Polish musicologists, L. Belyavsky and J. Stenszewski (musicologists-ethnographers), K. and J. Moravsky (researchers of early music), I. Poniatowska, Z. Helman and J. Vershilovsky (the latter studies the psychology of musical creativity) stand out ). A section of musicologists was organized at the Union of Polish Composers. Polish musicians are included in the International. Society of Musicology and International. music Council at UNESCO. Musicians-performers are united in the Association of Polish Artists-Musicians ("SPAM"). The Polish Musical Society is actively working. publishing house in Krakow (since 1945, with a branch in Warsaw), publishes scientific. and popular music books, sheet music, incl. scores Op. modern Polish composers; among publications - collections of Op. Chopin, Szymanowski and Moniuszka.
International fame won the ensembles of the Polish Nar. songs "Mazowsze" and "Shlensk", consisting of chorus. and ballet groups. Simultaneously with high development prof. P. m. rises arts. music level. amateur performances (amateur groups are financed by trade unions). Numerous are created. choirs and amateur estr., spirit. orchestras and ensembles; there is a working philharmonic society. Festivals are organized. choirs, popular songs, etc. Among amateurs. The most famous is the Łódź Dance and Song Ensemble "Harnama". In the 1960s increased interest in ancient P. m.; in Bydgoszcz since 1966 (once every 3 years) festivals and congresses have been held, dedicated to. ancient music of Eastern countries. Europe, it is cultivated by prof. groups - in addition to those created earlier (choir under the direction of Stuligrosh and the Poznań Nightingales, director E. Kurchevsky), Warsaw Trumpeters and Flutists (head K. Piwkowski), Bydgoszcz Madrigalists, Cracow Chapel of Early Music, Wroclaw Choir under the hand Kaidash and other groups. Annual festivals are organized - modern. music "Warsaw Autumn" in Warsaw, oratorio music "Wraclavia cantans" in Wroclaw, Polish pianists in Słupsk, pop song in Sopot (since 1977 Intervision and Recording Festival) and many others. etc. The largest international events are held in Poland. competitions: in Warsaw - im. Chopin (pianists; 1 time in 5 years, since 1927; interrupted in connection with the 2nd World War and resumed in 1949), them. G. Wieniawski (violinists; since 1935; resumed in 1952, in Poznań, once every 5 years; since 1957, competitions for composers and screenwriters have been held as part of this competition); Soviet song in Zielona Gora.
Literature: Paskhalov V.V., Chopin and Polish folk song, L.-M., 1941, Chopin and Polish folk music, L.-M., 1949; Belza I.F., History of Polish musical culture, vol. 1-3, M., 1954-72; Selected articles of Polish musicologists, Sat. 2, M., 1959; Russian-Polish musical connections. Articles and materials, M., 1963; Rolinski A., Dzieje muzyki polskiej w zarysie, Lww, 1907; Reiss J., Najpiekniejsza ze wszystkich jest muzyka polska, Kr., 1946, 1958; Jachimecki Z., Muzyka polska w rozwoju historycznym, t. 1-2, Kr., 1948-51; Chybinski A., Slownik muzykуw dawnej Polski do roku 1800, Kr., 1949; Strumillo T., Szkice z polskiego zycia muzycznegow XIX w., Kr., 1954; his own, Zrodla i poczatki romantyzmu w muzyoe PolskieJ, Kg., 1956; Michalowski K., Bibliografia polskiego pismiennictwa muzycznego, t. 1-2, Kr., 1955; Supplement za lata 1955-1963, Kr., (1963); Kultura muzyczna Polski Ludowej, 1945-55, red. J. Chominski, Z. Lissa, Kr., 1957; Polish music, ed. by S. Jarocinki, Warsz., 1965; Schdffer V., Almanach polskich kompositorow wspulczesnych, Kr., 1966; Polska wspülczesna kultura muzyczna 1944-1964, red. E. Dziebowska, Kr., 1968; Mrygon A., Mrygon E., Bibliografia polskiego pismiennistwa muzykologieznego, Warsz., 1972; Volksrepublik Polen, 1945-1956, V., 1972; Morawski J., Polska liryka muzyczna w sredniowieczu. Repertuar sekwencyiny cystersw (XIII-XVI w.), Warsz., 1973; Szkice o kulturze muzycznej XIX wieku, t.. 1-3, Warsz., 1971-76, red. Z. Chechlinska. See also lit. with the articles Warsaw, Krakow, Chopin, Szymanowski.
