Chamber Music Concert - "Music of My Soul" Filharmonia Narodowa

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Chamber Music Concert - "Music of My Soul"
Marcin Kozieł, fot. Peter Mayr

Music of: Łucja Drege-Schielowa / Witold Friemann / Jan Gall / Tadeusz Joteyko / Stanisław Kazuro / Stanisław Lipski / Henryk Melcer / Eugeniusz Morawski / Stanisław Niewiadomski / Zygmunt Noskowski / Feliks Nowowiejski / Ludomir Rogowski / Ludomir Różycki / Jerzy Sokorski / Felicjan Szopski / Karol Szymanowski / Juliusz Wertheim / Stanisław Wiechowicz / Kazimierz Wiłkomirski / Władysław Żeleński

 

 

 

The song is one of the most fascinating genres of music. Bohdan Pociej, a leading expert of song and one of the musicologists most sensitive to the link between word and sound, assigned it a very special place. In an article published in Ruch Muzyczny in 1985 he wrote “Its history is in fact the whole history of music, from primitive cultures (prehistory), through developed ancient cultures, the Middle Ages, the Renaissance and Baroque, the Enlightenment and Romanticism, right up until our times. Song is present wherever music resounds; [...] it is the most ‘global’ of musical forms”. With such a holistic approach, the output of Polish song composers has undoubtedly become an integral part of our human heritage. It is part and parcel of this legacy, perhaps modest in quantity but nevertheless recognisable and original.

What music do we hear playing in our souls? The first answer to this rhetorical question that comes to mind is rather obvious: the music of Fryderyk Chopin. And there is something in the history of Polish song that a dozen or so lyrical miniatures from the composer of The Wish have become a point of reference for successive generations, stepping well beyond the boundaries of Romanticism or the 19th century in general. Another figure whose music resounds through our song-loving souls is Stanisław Moniuszko – it would be hard to imagine our repository of Polish song without his Śpiewniki domowe (Songbook for Home Use). In this context, however, we should not forget about others – Chopin and Moniuszko are like icons, and those who surround them are akin to the priests of the rite of the song – with all their variations and individual differences. In this gallery of composers, Karol Szymanowski is another great figure. He spent his whole life writing songs and I Am and I Weep can be regarded at the very least as symbolising his visionary contributions to this artform. If it has been singled out, it is simply to emphasise the context, to consider it as one of the benchmarks with which to gauge the achievements of others. The vast output of the latter testifies to the richness of the genre. Bohdan Pociej pointed out that writing songs “seems to be a lasting need. If there is an indestructible element of musicality in man, then the song is its seed”.