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Antoni Szałowski

Person and Work

Series:

Elzbieta Szczurko

«(This book) is the first extensive study of the works of Antoni Szałowski, which provide a clear example of the adaptation of the principles of Neoclassicism and the norms of Nadia Boulanger. The heritage of the émigré composers – generally speaking not well known, scattered, or absent from national musical life for many years – requires a comprehensive research approach in order to restore it to its rightful place within Polish music. This is the direction taken in this work, where the monographic form is a fitting framework for the presentation of the characteristics, the context and the significance of Szałowski’s achievement – a subject never undertaken before.» (Prof. Dr. D. Jasińska, Adam Mickiewicz University of Poznań, Poland)
«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)

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3. The essence of creativity

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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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