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Antoni Szałowski

Person and Work


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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4. Antoni Szałowski and the school of Nadia Boulanger


4 Antoni Szałowski and the school of Nadia Boulanger The concept o f the “school o f Nadia Boulanger”, w hich features in num e­ rous Polish and foreign m usicological publications, relates both to B ou ­ langer’s pedagogical activities and to the works o f com posers who studied under her d irection1. In this context, term s like the “Polish school” or the “A m erican school” clearly involve a degree o f sim plification. N ot all Polish or A m erican com posers who studied with Boulanger create a school in the literal m eaning o f the word. I use this term to describe those o f her pupils from the interw ar period who at som e point during their artistic activi­ ties adopted the same qualities o f craftsm anship and whose w ork repre­ sents what is referred to by Zofia H elm an as the “actual N eoclassicism ” 2 (the Neoclassicism o f Nadia Boulanger’s school prior to W orld W ar II). However, we do know that their future creative paths were varied — some of them, like Szalowski, remained faithful to the neoclassical aesthetics, while others, such as Bacewicz, struck out in a different direction of their own. 4.1. The Neoclassicism o f the Polish school N eoclassicism appeared in Polish m usic during the m id-1920s, although initially it was only a period o f shaping artistic principles and attitudes. 1 C f . D . J a s i...

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