Vistula Resonances E-Book

Maher Asaad Baker

• Herausgeber: tredition
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 100

Veröffentlichungsjahr: 2024

Beschreibung

Discover the beauty of Polish music and fables through "Vistula Resonances", an amazing journey through time and space. Travel through the remnants of pre-medieval themes, the majesty of Renaissance and Baroque movements and the patriotism in the Romantic period. Discover postwar Polish music creativity and the changes in the country's musical life in the post-communist period. This book is a tremendously detailed account of how Polish music is not just a mirror of the nation's character, but an active element in its formation. Starting with the eerie anthems of folk songs from prehistoric times, through dance and techno music of today's Poland, "Vistula Resonances" provides the unique opportunity to experience the gradual development of a nation that finds its essence in music. This outstanding compendium is specifically tailored for scholars, interested laymen as well as for anybody eager to discover more about the history of Poland and its music – a true masterpiece, which certainly furthers the understanding and appreciation of its profound subject.

Leseprobe

Maher Asaad Baker

Vistula Resonances

© 2024 Maher Asaad Baker

ISBN Softcover: 978-3-384-38671-7

ISBN Hardback: 978-3-384-38672-4

ISBN E-Book: 978-3-384-38673-1

This work, including its parts, is protected by copyright. The author is responsible for the contents. Any exploitation is prohibited.

Cover image designed by Freepik

Contents

Introduction

Early Influences

Flourishing Traditions

Nationalism's Rise

Resilience and Innovation

Future Directions

Disclaimer

About the Author

Introduction

Originally the musical tradition in Poland is believed to have its origin in the pre-medieval period when there existed some Slavic tribes in the territory of future Poland. These early communities consisted of people who over time cultivated a great appreciation of music and dance and used instruments like gusle – a violin with just one string and lira, a bowed lyre. Everyday activities such as work, rituals and festivities in the lives of these tribes included music. The traditions of neighboring cultures, including the Byzantine and Mongol Empires, added more colours to these kinds of music and made quite a combination.

With the development of Poland as an entity in the medieval age, the influence of the Church is seen to be more and more marking the development of music. Through monasticism, new forms of sacred music such as the Gregorian chants were introduced and incorporated into Europe’s music literature. From the earliest written evidence for Polish music, it is clear that Christian influence had been significant; Bogurodzica, a hymn to the Virgin Mary.

The Renaissance means ‘Melodic Awakening’ in Poland, which entered the path of the European Renaissance of culture and art. At the same time, the appearance of polyphony and secular compositions came into focus, there were two Polish most famous composers Wacław z Szamotuł and Mikołaj Gomółka. Polish Renaissance was characterized by producing elaborate and emotive music which was characteristic of the movement’s intellectualism.

The Baroque period added more light to Polish music with such composers as Marcin Mielczewski as well as Grzegorz Gerwazy Gorczycki who provided Polish music with beauty as well as complexity it not had before. In this regard, one could state that the impact of Baroque music characterized by the embellishment and ornamentation and stressing the affective aspects of music has been felt in Poland through its effect on Polish composers and musicians.

The awakening of the national culture of the Poles in the era of Enlightenment was to a considerable extent influenced by music. The music of that time invited and embraced enlightenment in music by composers like Michał Kleofas Ogiński and Józef Elsner writing pieces that spoke liberating spirit of the Polish people. This means that the music of this time embodies a growing clarity of national identity, raining for romantic nationalism.

In the second half of the 19th century, romantic nationalism categorized Polish music whereby Fryderyk Chopin and Stanisław Moniuszko contributed to the music portraying the struggle and the hope of the Poles. Chopin extended the title of the world-renowned composer whose compositions contained both the forms of the European classical tradition and the motifs of Polish folk music. Some of the works that he composed include Polonaises and Mazurkas and through these pieces, he popularized and brought out the Polish culture to the world.

In the late 19th and early 20th centuries, nationalism took hold and folk influences were incorporated into the scores of this music. Second has been the following movement, which could be exemplified by the works of Karol Szymanowski and Witold Lutosławski, who, inspired by the richness of Polish folklore, have composed the sonata and many other works appealing emotionally.

Paradoxically, the interwar period was very dynamic in terms of socio-political relations in Poland and music did change. There were many talented Polish composers not only in the twentieth century but also in the previous centuries, for example, Grażyna Bacewicz, and Andrzej Panufnik who sought new forms and new techniques and the implication of such matters as culture and politics. Consequently, with the development of Polish cinema in addition to the modern media the opportunity for new forms of musical art was created, acting as a supplement to the existing culture.

World War II presented quite a tragic storyline in Poland and it reflected in Polish music and folklore of the specified time period. Despite the invasion and occupation of Poland, musicians and composers of that country showed extreme strength and utilized their works to create and spread awareness about the culture of Poland. This is true through the testimonies of the hidden concerts and secret performances that prove music to be a useful tool in resistance and culture.

After the war, Poland became a part of the Eastern bloc and was under the rule of communists and music had a dynamic existence with the new regime. It was tightly controlled by the state and also created conditions under which the opportunity was limited, but nevertheless, the talent of composers such as Witold Lutosławski and Krzysztof Penderecki helped to create interesting pieces in this period. Operating under communism, their works depicted personal struggles and emotional experiences that characterized the society’s life.

The first attempts to liberalize music are traced back to the 1989 year which can be considered as the dawn of post-communist renaissance in Poland. The continuity and change in Polish music and folklore in this period is synonymous with tradition and innovation. It changed the course of its development, innovative genres appeared along with the revival of previous forms, characteristic for the growing culture of the newly regained independent Poland.

Polish music in the present day and age also remains to have a very rich depth and it is still developing with the existence of the new trends in the entire world music industry and the new generation of artists. This has especially been brought out by globalization whereby Poland today has a mixture of different styles and genres of music. From electronics to rap, from jazz to classical, traditional and present-day components are intertwined in the Polish musicians’ productions, making it a rather lively and innovative musical culture.

New technologies opened new possibilities for the preservation and sharing of folklore of Poland. With the help of technology, one can record live performances of traditional music forms and present them in front of the world and also protect such crust formations for future generations. Also, through using digital media, traditional forms of music styles have embraced new forms and complexity as artists innovate on new sounds.

Moves at maintaining the Polish musical and folklore heritage while at the same time striving for innovation are documented by various activities and programs. These activities cover cultural activities such as festivals, as well as educational activities that are used in efforts to reinstate the value of Polish music in the 21st century. Examples of Malari’s work are discussed, as well as examples of various preservation initiatives and contemporary interpretations of Polish music.

It is significant to point out that the history of Polish music reflects the national melodies of the Polish people’s spirit and their cultural heritage. From the first and still, mysterious melodies played by the observed Slavic tribes or main singers of their education to the rich and colorful compositions and concept albums of today’s artists – Polish music has followed the steps and stages of the country. The second aspect is about the beauty of Polish music on the note of melodies and rhythms but at the same time, it is about the feelings of Poles and their dreams and ideals. At the same time, examining the different periods and themes in Polish music, it becomes possible to embrace its richness and diversity, as well as to enjoy the result of the appreciation of this tradition.

Early Influences

The history of Polish music is considered a part of Polish traditions for centuries with musicians and musical instruments traced back to the earliest Slavic culture during 500 – 1000 AD. This involves the period before Poland was established as a country in 966 with Mieszko I and in this period most of the current characteristics of Poland’s music were put down.

The Early Slavs who lived in the area of today’s Poland in the Bronze and Iron Ages displayed successful results which included the use of musical instruments some of which were borrowed from neighbouring cultures. Chordophones: gusli – an ancient Slavic multi-stringed musical instrument; gidza – Baltic kankles; Aerophones: svirel – wooden flute; dude – bag pipe; membranophones: buben – drum. Of them the gusli occupies a special place in folklore of the Polish people due to Boyan – Slavic bard of the early historical epoch, whose songs are historical and heroic narratives of rulers and warriors.

Throughout Slavic pagan rituals and in everyday life in the time of Ancient Slavs, there were musical components. Musical instruments such as tiny clay whistles and ocarinas, buried with the dead imply that music was involved in ritual and possibly in passages related to death and the other world. Other tools that served functional purposes included the horns that were used for communication purposes during hunts, farming and wars. The rhythmic tunes of folk music accompanied circular dances where circular dance were compulsory for the carnival and other similar gatherings that were aimed at social purposes. To fully understand the notion of early Polish musical performance one has to realize that it was more framings, and participational, than compositions.

Long before Poland unified into a state and organized in the 10th century AD its music also evolved as a result of the contact with the other empires as well. The appearance of Christianity across Central Europe because of improved interaction with the Byzantine Empire brought in the musical style of Orthodox religious chant. The Byzantine choral singing secularised with Old Church Slavonic melodies infiltrated the Polish churches and royal chapels. The folk melodies of Polish got mixed up with the eastern modal scales as well as drones.

Subsequent incursions were from the East the most predominant one being from the Mongol empire that advanced west in the thirteenth century. Hence even though the Mongol influence in Poland was short-lived and very destructive it is possible to detect its presence in Polish music at least in the stocks used. In the eighteenth century, new fiddles such as the suka and the kobza came into existence and further on into an indispensable element of the repertory of today's Polish folk bands. Another instrument used and altered to become the Polish cymbały, the oriental koto zither also became fashionable. These exchanges are enough evidence that shed light on Poland as an international melting pot when it comes to culture.

Pre- Mieszko I era of Poland was centred on various early practices and instruments to build up a cube or the forerunner of versatile tradition. Folk music was active, and for people it was a core of the folk’s identity and involved culture, the influence of Byzantium and Mongolian sophistically enriched the folk’s musicality. The continuity of music traditions of the pre-medieval period in Poland has persisted up to the period when Poland evolved from the Slavic tribal state to the medieval Polish kingdom. The shrill harmonies of Slavic gusli, pipes and drums persisted into the nineteenth century as melodies recalling the pre-Christian autochthonous traditions as well as the meta-ethnical cultural stems tying Poland with the large Eurasiatic frame.

For those who might question the author’s assertion, it is necessary to bear in mind that after the arrival of Latin Christianity to Poland in 966 AD, the Byzantine orthodox rite only gradually started to intrude the Polish religious musical practices and chanting. When the Byzantine missionaries took eastern Christianity to the land, they also introduced the chanting technique into their worshipping services. The development of Polish religious music owes much to the following key Byzantine influences: In my opinion, the indicated range of Polish religious music owes the following Byzantine impacts: