Show Less
Restricted access

Between Romanticism and Modernism

Ignacy Jan Paderewski’s Compositional Œuvre

Series:

Boguslaw Raba

This is the first monograph on the Polish composer Ignacy Jan Paderewski (1860–1941). It aspires to be part of the process of restoring his compositional legacy to European musical culture. Reinterpreting the legend surrounding the great Pole, the study is based on Paderewskis works that are listed in the Paderewski catalogue, but also includes sketches, unfinished pieces and student exercises. Raba’s analysis and interpretation of the composer’s work is carried out in formal-structural, stylistic-critical and aesthetic contexts, revising the image of the composer, that has been distorted in the historical reception of his œuvre.
Show Summary Details
Restricted access

Chapter 3: Early Romantic Output (ii): in the Shackles of Berlin Academicism and the National Tradition (1882–84)

Extract

Chapter 3:Early Romantic Output (ii): in the Shackles of Berlin Academicism and the National Tradition (1882–84)

3.1In the sphere of the Chopin-Moniuszko tradition – Vier Lieder, Op. 7 and ‘Maienblume’

The songs composed in the years 1882–1903, alongside the piano output, are the most extensive testimony to the changes in Paderewski’s musical language: from the crystallisation of his style to his mature writing. The earliest song, ‘Dola’ [Fate], to words by Władysław Syrokomla (1878), held to be Paderewski’s first composition, has not come down to us. Besides the three song cycles Opp. 7, 18 and 22, Paderewski’s output for voice contains two songs without opus number and sketches in the form of a few bars of a melodic line with text or just a title: ‘Ach jak mi smutno’ [Oh, woe is me] (words by Adam Asnyk from Mozaika [Mosaic]), a 19-bar sketch from 1882–85; ‘Kochanko moja’ [My beloved] (words by Adam Mickiewicz from Rozmowa [Conversation]), a 10-bar sketch from c.1886; four sketches of songs to words by Zygmunt Krasiński (Nos. 1–3 from his Pisma [Writings], No. 4 from Psalmy przyszłości [Psalms of the future]), Nos. 1 ‘Czy to cuda?’ [Is it a miracle?] (34 bars), No. 2 ‘Módl się ty za mnie’ [Pray for me] (12 bars), No. 3 ‘O nie mów o mnie’ [O don’t speak of me] (9 bars), No. 4 ‘Powiedz orle’ [Tell me, eagle] (25 bars), and ‘Rappelle-toi’ [Remember...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.