Post by Bonobo on Jan 18, 2022 18:02:25 GMT 1
Karol Maciej Szymanowski (Polish pronunciation: [ˈkarɔl ˈmat͡ɕɛj ʂɨmaˈnɔfskʲi]; 6 October 1882 – 29 March 1937)[1] was a Polish composer and pianist, the most celebrated Polish composer of the early 20th century. He is considered a member of the late 19th-/early 20th-century modernist movement Young Poland and widely viewed as one of the greatest Polish composers.
The early works show the influence of the late Romantic German school as well as the early works of Alexander Scriabin, as exemplified by his Étude Op. 4 No. 3 and his first two symphonies. Later, he developed an impressionistic and partially atonal style, represented by such works as the Third Symphony and his Violin Concerto No. 1. His third period was influenced by the folk music of the Polish Górale people, including the ballet Harnasie, the Fourth Symphony, and his sets of Mazurkas for piano. Król Roger composed between 1918 and 1924, remains the most popular opera by Szymanowski. His other significant works include opera Hagith, Symphony No. 2, The Love Songs of Hafiz, and Stabat Mater.
He was awarded the highest national honors, including the Officer's Cross of the Order of Polonia Restituta, the Order of Merit of the Republic of Poland and other distinctions, both Polish and foreign.[2]
He loved luxury and alcohol. He loved to scandalize
Karol Szymanowski from the Ukrainian village went to the world's salons. His life was a series of unbelievable scandals.
Przemysław Krajewski
8.6K
January 8, 2022, 2:31 pm
You can read this text in 5 minutes
Sarcastic, ironical statements " I wish I had the money that I would spend on my funeral" and " I prefer to break stones than to reveal the subtle secrets of my profession to various cymbals. Let those who have ears, hear themselves" perfectly illustrate the approach to the life of the composer, so valued today for patriotic, national, Polish notes.
He loved luxury, alcohol, he liked spending money, and when there was no money, he borrowed left and right. On the other hand, he helped his family, supporting his mother, his sick brother, sisters ... He constantly complained about his own poverty, thought and talked about money all the time: how to earn it and who to borrow from. Letters asking for support were also sent from the most expensive apartment in the Bristol hotel. This room was filled with crowds of the composer's friends from various backgrounds, often of young age and of dubious provenance, who (as Anna Iwaszkiewicz says) "at his expense, ate, and especially drank from morning to night". If any of these revelers had a headache, the host would always carry a vial with morphine and cocaine in his jacket pocket at the ready! Parties, abundantly sprinkled with alcohol, undoubtedly constituted the background and an opportunity for the composer's incredible erotic conquests, which have evolved over the years to an overtly homosexual form. His long-time friend, Jarosław Iwaszkiewicz, wrote about the panic caused by the composer's desire in his own family ... "[...] his company. (...) The uncle of Karolowa and Taube saw well his destructive influence on the youth and they were very scandalized and worried about it. counted on dozens. " [...] what a panic caused the composer's desire in his own family ... "[...] Karol was definitely spoken of as a" spoiled "man and people began to warn young brides and young people not to be in his company. (...) Uncle Karolowa and Taube saw well its destructive effect on young people, and they were very scandalized and worried about it. They cared about every little detail and their eyes were sternly on Katota at all family gatherings where, after all, those cousins and those cousins counted for the dozen. " [...] what a panic caused the composer's desire in his own family ... "[...] Karol was definitely spoken of as a" spoiled "man and people began to warn young brides and young people not to be in his company. (...) Uncle Karolowa and Taube saw well its destructive effect on young people, and they were very scandalized and worried about it. They cared about every little detail and their eyes were sternly on Katota at all family gatherings where, after all, those cousins and those cousins counted for the dozen. " [...] (...) Uncle Karolowa and Taube saw well his destructive influence on young people and they were very scandalized and worried about this influence. They worried about every little thing, and their eyes were sternly on Katota at all family gatherings, where those cousins and those cousins counted on the dozen. "[...] (...) Uncle Karolowa and Taube saw well his destructive influence on young people and they were very scandalized and worried about this influence. They worried about every little thing, and their eyes were sternly on Katota at all family gatherings, where those cousins and those cousins counted on the dozen. "[...]
Karol shared his erotic fascinations with the aforementioned Jarosław Iwaszkiewicz, Witkacy, and the wealthy industrialist Stefan Spiess. Together, they traveled abroad, to the south of Europe (Sicily) and to northern Africa, looking for adventures and absorbing exotic customs and culture. Szymanowski also knew very well and felt very well in European capitals: Paris, London, Vienna and Berlin. He loved Switzerland, he was fascinated by the United States of America.
It all started in tiny Tymoszówka in today's Ukraine. Karol was born in the family estate on October 3, 1882. The Korwin-Szymanowski crown noble family of Mazovia, of the Ślepowron coat of arms, gave birth to not only the famous composer, but also many distinguished figures for the Republic of Poland. In the family itself, however, opinions about Karol were strongly divided ... In any case, it was a musical family. My father played the cello and piano, and so were the siblings: my brother and sister were involved in music. The other two sisters also worked in artistic circles, working in poetry, translation, and painting. Karol Szymanowski began his musical education at the age of 7, initially tutored by his father, then at the local music school, where his uncle, Gustaw Neuhaus, He quickly learned about the extraordinary talent of his student as a composer. After graduating from high school in 1901, Szymanowski came to Warsaw. For the first two years he studied composition, counterpoint and harmony. In 1903 he left for Berlin, where he stayed until 1905. There he met Strauss, whose work had a huge impact on the young composer at that time.
From childhood, Karol suffered from muscle paresis in his leg (which saved him from being conscripted into the army during World War I) and was sickly at times. After periods of euphoria and great activity, he often fell into depression and anxiety due to his own health. Then he closed in on himself and created. His music is very diverse and at the same time has its own very expressive style. He willingly created chamber music. Among other things, numerous miniatures for piano, as well as mazurkas inspired by the music of Fryderyk Chopin. He composed songs for voice and piano, as well as pieces for violin. He was able to use the potential of a monumental orchestra in symphonic, opera and oratorio works.
One of the composer's most beautiful works is undoubtedly the "Stabat Mater" op. 53 for solo voices, mixed choir and orchestra (1925). The work, rightly considered by Szymanowski to be his greatest achievement, was commissioned by a Warsaw entrepreneur, Bronisław Krystall, to commemorate his deceased wife.
Entering his mature life, he openly manifested homosexual eroticism. We owe this metamorphosis to "Symphony No. 3" and "King Roger". The author himself perceived this process as the discovery of the "religion of love", and since his main partner in deliberations on this subject was then the extremely prolific literary Iwaszkiewicz, so the writer's flowery remarks about "sublimating Karol's eroticism to the heights", "at the absolute zenith of human achievements " in the field.
The progenitor of today's drag queen characters, we can find among the heroes of the opera "Benvenuto Cellini", composed since 1918, in the form of a young man, an ephebe named Diego. When writing the libretto, he described the title character as his "spiritual assistant". In the climax of the first scene, we notice the delight of Benvenut watching the young man dressed ... Unfortunately, the work of "Benvenuto Cellini" was never presented to the public. Only the "cursory plan" of the opera has survived, which - similarly to "King Roger" later - was intended by the author to be a dramatic work about the passions tormenting the soul of the title character rather than a traditional opera work.
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With age and the passage of years, Szymanowski's works more and more often struck patriotic, local and familiar notes. The composer himself, even before the so-called "National period", he described his work as follows: "I can call my works" Metopes "," Masks "or" Myths ", they can be good or bad music, but there is no doubt that they were written by a Pole. it was their trait that was strongly and emphatically emphasized by ... French criticism. One should not look for cosmopolitanism in my music, or even worse - internationalism. One can only find in it "Europeanness", and this does not contradict Polishness; we have the right to it. indeed since yesterday: it is free. The feeling of this freedom penetrates me deeply, it is my basic inner reality. "
The composer's interest in the local culture of Podhale was expressed in the famous ballet Harnasie. Another outstanding example of local inspiration is the cycle of Twenty Mazurkas, Op. 50 for piano (1924–1925). The predilection to the Kurpie folklore resulted in two cycles of Kurpie Songs.
After Poland regained independence, Karol Szymanowski moved with his family to Warsaw, where in 1927 he became the head of the Warsaw Conservatory of Music, three years later becoming its rector (having rejected the lucrative proposal of a similar university in Cairo). In his pedagogical work, he tried to give his students the best possible development opportunities, bringing celebrities from the world of music. He wrote mainly journalistic texts, two novels and many literary works, unfortunately largely unfinished. The novel "Efebos", preserved in fragments, is an exception.
As the author of excellent piano music, Szymanowski was an absolutely atypical composer of it. Most of his predecessors and competitors were educated composers and instrument virtuosos at the same time. As a pianist, Szymanowski rarely performed, somehow out of necessity… or even desperation. Usually just to save your financial situation. He himself was not of the best opinion of his piano skills. Before the recital in Zakopane in 1924, he wrote that he had "(...) a sense of artistic villainy - humiliation - prostitution committed!", Announcing: "I will therefore win incredible nonsense, including improvisation !!".
The composer's last completed work is "Two Mazurkas for Piano", Op. 62 from 1934. Long-term tuberculosis deprived Szymanowski of his strength, and long periods of treatment and convalescence did not allow for compositional creativity. Soon he had to stop his concert activity as well. In 1936, mounting financial problems forced a difficult decision to give up renting the beloved villa "Atma" in Zakopane. Karol Szymanowski died on March 29, 1937 in a sanatorium in Lausanne. His body in a crepe-covered wagon traveled with honors through Berlin, Poznań, Warsaw to Krakow, everywhere being said goodbye by the crowds of the audience. Funeral ceremonies took place on April 7 in the Crypt of Merit in the Pauline Fathers' Church in Krakow's Skałka. He rightly foresaw the splendor of his own burial in the above-quoted bon mot: "
Undoubtedly, Karol Szymanowski changed Polish music and became an inspiration for several generations of artists. To this day, he is called "the best after Chopin".
Source:
damosfera.com
Date Created: January 8, 2022, 2:31 PM
The early works show the influence of the late Romantic German school as well as the early works of Alexander Scriabin, as exemplified by his Étude Op. 4 No. 3 and his first two symphonies. Later, he developed an impressionistic and partially atonal style, represented by such works as the Third Symphony and his Violin Concerto No. 1. His third period was influenced by the folk music of the Polish Górale people, including the ballet Harnasie, the Fourth Symphony, and his sets of Mazurkas for piano. Król Roger composed between 1918 and 1924, remains the most popular opera by Szymanowski. His other significant works include opera Hagith, Symphony No. 2, The Love Songs of Hafiz, and Stabat Mater.
He was awarded the highest national honors, including the Officer's Cross of the Order of Polonia Restituta, the Order of Merit of the Republic of Poland and other distinctions, both Polish and foreign.[2]
He loved luxury and alcohol. He loved to scandalize
Karol Szymanowski from the Ukrainian village went to the world's salons. His life was a series of unbelievable scandals.
Przemysław Krajewski
8.6K
January 8, 2022, 2:31 pm
You can read this text in 5 minutes
Sarcastic, ironical statements " I wish I had the money that I would spend on my funeral" and " I prefer to break stones than to reveal the subtle secrets of my profession to various cymbals. Let those who have ears, hear themselves" perfectly illustrate the approach to the life of the composer, so valued today for patriotic, national, Polish notes.
He loved luxury, alcohol, he liked spending money, and when there was no money, he borrowed left and right. On the other hand, he helped his family, supporting his mother, his sick brother, sisters ... He constantly complained about his own poverty, thought and talked about money all the time: how to earn it and who to borrow from. Letters asking for support were also sent from the most expensive apartment in the Bristol hotel. This room was filled with crowds of the composer's friends from various backgrounds, often of young age and of dubious provenance, who (as Anna Iwaszkiewicz says) "at his expense, ate, and especially drank from morning to night". If any of these revelers had a headache, the host would always carry a vial with morphine and cocaine in his jacket pocket at the ready! Parties, abundantly sprinkled with alcohol, undoubtedly constituted the background and an opportunity for the composer's incredible erotic conquests, which have evolved over the years to an overtly homosexual form. His long-time friend, Jarosław Iwaszkiewicz, wrote about the panic caused by the composer's desire in his own family ... "[...] his company. (...) The uncle of Karolowa and Taube saw well his destructive influence on the youth and they were very scandalized and worried about it. counted on dozens. " [...] what a panic caused the composer's desire in his own family ... "[...] Karol was definitely spoken of as a" spoiled "man and people began to warn young brides and young people not to be in his company. (...) Uncle Karolowa and Taube saw well its destructive effect on young people, and they were very scandalized and worried about it. They cared about every little detail and their eyes were sternly on Katota at all family gatherings where, after all, those cousins and those cousins counted for the dozen. " [...] what a panic caused the composer's desire in his own family ... "[...] Karol was definitely spoken of as a" spoiled "man and people began to warn young brides and young people not to be in his company. (...) Uncle Karolowa and Taube saw well its destructive effect on young people, and they were very scandalized and worried about it. They cared about every little detail and their eyes were sternly on Katota at all family gatherings where, after all, those cousins and those cousins counted for the dozen. " [...] (...) Uncle Karolowa and Taube saw well his destructive influence on young people and they were very scandalized and worried about this influence. They worried about every little thing, and their eyes were sternly on Katota at all family gatherings, where those cousins and those cousins counted on the dozen. "[...] (...) Uncle Karolowa and Taube saw well his destructive influence on young people and they were very scandalized and worried about this influence. They worried about every little thing, and their eyes were sternly on Katota at all family gatherings, where those cousins and those cousins counted on the dozen. "[...]
Karol shared his erotic fascinations with the aforementioned Jarosław Iwaszkiewicz, Witkacy, and the wealthy industrialist Stefan Spiess. Together, they traveled abroad, to the south of Europe (Sicily) and to northern Africa, looking for adventures and absorbing exotic customs and culture. Szymanowski also knew very well and felt very well in European capitals: Paris, London, Vienna and Berlin. He loved Switzerland, he was fascinated by the United States of America.
It all started in tiny Tymoszówka in today's Ukraine. Karol was born in the family estate on October 3, 1882. The Korwin-Szymanowski crown noble family of Mazovia, of the Ślepowron coat of arms, gave birth to not only the famous composer, but also many distinguished figures for the Republic of Poland. In the family itself, however, opinions about Karol were strongly divided ... In any case, it was a musical family. My father played the cello and piano, and so were the siblings: my brother and sister were involved in music. The other two sisters also worked in artistic circles, working in poetry, translation, and painting. Karol Szymanowski began his musical education at the age of 7, initially tutored by his father, then at the local music school, where his uncle, Gustaw Neuhaus, He quickly learned about the extraordinary talent of his student as a composer. After graduating from high school in 1901, Szymanowski came to Warsaw. For the first two years he studied composition, counterpoint and harmony. In 1903 he left for Berlin, where he stayed until 1905. There he met Strauss, whose work had a huge impact on the young composer at that time.
From childhood, Karol suffered from muscle paresis in his leg (which saved him from being conscripted into the army during World War I) and was sickly at times. After periods of euphoria and great activity, he often fell into depression and anxiety due to his own health. Then he closed in on himself and created. His music is very diverse and at the same time has its own very expressive style. He willingly created chamber music. Among other things, numerous miniatures for piano, as well as mazurkas inspired by the music of Fryderyk Chopin. He composed songs for voice and piano, as well as pieces for violin. He was able to use the potential of a monumental orchestra in symphonic, opera and oratorio works.
One of the composer's most beautiful works is undoubtedly the "Stabat Mater" op. 53 for solo voices, mixed choir and orchestra (1925). The work, rightly considered by Szymanowski to be his greatest achievement, was commissioned by a Warsaw entrepreneur, Bronisław Krystall, to commemorate his deceased wife.
Entering his mature life, he openly manifested homosexual eroticism. We owe this metamorphosis to "Symphony No. 3" and "King Roger". The author himself perceived this process as the discovery of the "religion of love", and since his main partner in deliberations on this subject was then the extremely prolific literary Iwaszkiewicz, so the writer's flowery remarks about "sublimating Karol's eroticism to the heights", "at the absolute zenith of human achievements " in the field.
The progenitor of today's drag queen characters, we can find among the heroes of the opera "Benvenuto Cellini", composed since 1918, in the form of a young man, an ephebe named Diego. When writing the libretto, he described the title character as his "spiritual assistant". In the climax of the first scene, we notice the delight of Benvenut watching the young man dressed ... Unfortunately, the work of "Benvenuto Cellini" was never presented to the public. Only the "cursory plan" of the opera has survived, which - similarly to "King Roger" later - was intended by the author to be a dramatic work about the passions tormenting the soul of the title character rather than a traditional opera work.
ADVERTISEMENT
With age and the passage of years, Szymanowski's works more and more often struck patriotic, local and familiar notes. The composer himself, even before the so-called "National period", he described his work as follows: "I can call my works" Metopes "," Masks "or" Myths ", they can be good or bad music, but there is no doubt that they were written by a Pole. it was their trait that was strongly and emphatically emphasized by ... French criticism. One should not look for cosmopolitanism in my music, or even worse - internationalism. One can only find in it "Europeanness", and this does not contradict Polishness; we have the right to it. indeed since yesterday: it is free. The feeling of this freedom penetrates me deeply, it is my basic inner reality. "
The composer's interest in the local culture of Podhale was expressed in the famous ballet Harnasie. Another outstanding example of local inspiration is the cycle of Twenty Mazurkas, Op. 50 for piano (1924–1925). The predilection to the Kurpie folklore resulted in two cycles of Kurpie Songs.
After Poland regained independence, Karol Szymanowski moved with his family to Warsaw, where in 1927 he became the head of the Warsaw Conservatory of Music, three years later becoming its rector (having rejected the lucrative proposal of a similar university in Cairo). In his pedagogical work, he tried to give his students the best possible development opportunities, bringing celebrities from the world of music. He wrote mainly journalistic texts, two novels and many literary works, unfortunately largely unfinished. The novel "Efebos", preserved in fragments, is an exception.
As the author of excellent piano music, Szymanowski was an absolutely atypical composer of it. Most of his predecessors and competitors were educated composers and instrument virtuosos at the same time. As a pianist, Szymanowski rarely performed, somehow out of necessity… or even desperation. Usually just to save your financial situation. He himself was not of the best opinion of his piano skills. Before the recital in Zakopane in 1924, he wrote that he had "(...) a sense of artistic villainy - humiliation - prostitution committed!", Announcing: "I will therefore win incredible nonsense, including improvisation !!".
The composer's last completed work is "Two Mazurkas for Piano", Op. 62 from 1934. Long-term tuberculosis deprived Szymanowski of his strength, and long periods of treatment and convalescence did not allow for compositional creativity. Soon he had to stop his concert activity as well. In 1936, mounting financial problems forced a difficult decision to give up renting the beloved villa "Atma" in Zakopane. Karol Szymanowski died on March 29, 1937 in a sanatorium in Lausanne. His body in a crepe-covered wagon traveled with honors through Berlin, Poznań, Warsaw to Krakow, everywhere being said goodbye by the crowds of the audience. Funeral ceremonies took place on April 7 in the Crypt of Merit in the Pauline Fathers' Church in Krakow's Skałka. He rightly foresaw the splendor of his own burial in the above-quoted bon mot: "
Undoubtedly, Karol Szymanowski changed Polish music and became an inspiration for several generations of artists. To this day, he is called "the best after Chopin".
Source:
damosfera.com
Date Created: January 8, 2022, 2:31 PM