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Fifty Years of Freedom: Polish Music After 1945

Fifty Years of Freedom: Polish Music After 1945 Piotr Grella-Motejko Fifty Years of Freedom: Polish Music After 1945* THE ENVIRONMENT OF lRADmON There is a widespread tendency among Western and, surprisingly enough, Polish musicologists and lexicographers, to attribute the expansion in the field of contemporary classical music (or New Music)1 observed in Poland from the late 1950s onward to the post-Stalinist "thaw" which supposedly allowed for rapid absorption and exchange of the newest compositional ideas? Linking development of the arts in general and music in particular to political processes or momentary political acts is nothing new. However, in the case of Poland it often neglects the presence of a lively and rich tradition of art music making. Deducting from various Arab, Byzantine, Czech and German sources and extant early music manuscripts, this tradition has been uninterrupted for over nine hundred years? Its richness as well as its continuity have had no small impact * This article is dedicated to Mr. Ludwik Erhardt whose life-long effort to document Polish musical life is invaluable. This article resulted from a seminar on the history of Polish music which I taught in 1993 at the Department of Slavic and East European Studies, University of Alberta. I wish to thank Dr. Sue http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Canadian Slavonic Papers/Revue Canadienne des Slavistes Taylor & Francis

Fifty Years of Freedom: Polish Music After 1945

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Publisher
Taylor & Francis
Copyright
Copyright 1997 Taylor and Francis Group LLC
ISSN
2375-2475
eISSN
0008-5006
DOI
10.1080/00085006.1997.11092150
Publisher site
See Article on Publisher Site

Abstract

Piotr Grella-Motejko Fifty Years of Freedom: Polish Music After 1945* THE ENVIRONMENT OF lRADmON There is a widespread tendency among Western and, surprisingly enough, Polish musicologists and lexicographers, to attribute the expansion in the field of contemporary classical music (or New Music)1 observed in Poland from the late 1950s onward to the post-Stalinist "thaw" which supposedly allowed for rapid absorption and exchange of the newest compositional ideas? Linking development of the arts in general and music in particular to political processes or momentary political acts is nothing new. However, in the case of Poland it often neglects the presence of a lively and rich tradition of art music making. Deducting from various Arab, Byzantine, Czech and German sources and extant early music manuscripts, this tradition has been uninterrupted for over nine hundred years? Its richness as well as its continuity have had no small impact * This article is dedicated to Mr. Ludwik Erhardt whose life-long effort to document Polish musical life is invaluable. This article resulted from a seminar on the history of Polish music which I taught in 1993 at the Department of Slavic and East European Studies, University of Alberta. I wish to thank Dr. Sue

Journal

Canadian Slavonic Papers/Revue Canadienne des Slavistes – Taylor & Francis

Published: Mar 1, 1997

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