Person and Work
«The structure of the book as a whole is logical and cohesive. The uniform approach to constructing chapters and subchapters is undoubtedly of great value. Each new section begins with a theoretical or historical introduction, depending on the topic discussed, and is then followed by the discussion of the issues raised. The reader gains the impression that the author is firmly grounded in the literature of the subject in its widest sense.» (Prof. Dr. T. Malecka, Academy of Music in Kraków, Poland)
3. The essence of creativity
3----------- The essence of creativity 3.1. Towards Neoclassicism 3.1 .1 . C om p ositions from th e period o f studies in W arsaw (19 1 9 -1 9 3 0 ) W hen Antoni Szałowski enrolled at the W arsaw M usic Conservatory in September 1919, he at first found him self in the piano class o f Ignacy Przy- ałgowski, and from the academic year 1924/25 in the class o f Paweł Lewiecki, newly appointed at the W arsaw Conservatory. Lewiecki was a gra duate o f the M oscow Conservatory, as well as having a degree in law, and was a highly regarded young artist whose interpretations o f the works of Chopin, Rachm aninov and Scriabin m et with general approbation. The timetable o f lectures and practicals in Szalowski’s pupil daybook shows that he attended classes in theory first with Stanislaw Kazuro (solmisation), Ignacy Pilecki, and then Piotr Rytel (harmony) and Piotr Maszyń ski (choir). During the academic year 1925/26 the num ber o f lecturers increased; new teachers included Stanislaw Niewiadomski (knowledge about instruments), and a year later also Jerzy Lefeld (score reading) and Zygmunt Singer (wood wind instruments and conducting). Szalowski gave up the piano as his main subject at the beginning of the academic year 1927/28, i.e., at the time when Karol Szymanowski took on the directorship of the school. Instead o f the previous specialism, Szalowski took up composition with Kazimierz Sikorski, while obligatory subjects also included conducting with Grzegorz...
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