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A STUDY OF KAROL SZYMANOW‘SKI’S MUSICAL
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A STUDY OF KAROL SZYMANOWSKI’S MUSICAL EVOLUTION
IN SELECTED PIANO WORKS

By

WEI-QIN CLAIRE TANG

A DISSERTATION

Submitted to
Michigan Sate University
in partial fulfillment of the requirements
for the degree of

DOCTOR OF MUSICAL ARTS
School of Music

2004

ABSTRACT

A STUDY OF KAROL SZYMANOWSKI’S MUSICAL EVOLUTION
IN SELECTED PIANO WORKS

By
WEI-QIN CLAIRE TANG

Inside Poland, Karol Szymanowski (1882-1937) is recognized as the major
composer after Chopin, and the Father of Polish contemporary music. Beyond the Polish
country border, his music still remains largely unknown to the international audiences,
despite the fact that it has interested more and more musical scholars and artists in the
recent years.

Szymanowski’s sixty-two published works encompass different musical styles
and include compositions for the piano, voice, chamber groups, symphony, ballet and
opera. Like many composers of his time, Szymanowski’s musical style experienced
different stages of evolution: during the early years, he strongly attached to the Romantic
and late-Romantic traditions; in the middle period, he favored the impressionistic,
oriental and mystic qualities; and in his late years, he searched musical inspiration from
the folk resources of his native land.

The goal of this dissertation is to trace the time-line of the composer’s life, and
explore the evolution of his musical styles through a study of three separate piano works:
Four Etudes, Op. 4 (1900-1902); Twelve Etudes, Op. 33, (1916); and Mazurkas, Op. 50,
Nos. 13-16 (1924—1925). This dissertation includes a study of the historical background
of the composer, the major artistic and social influences towards his musical styles, as

well as theoretical analysis of the three presented works.

To my teachers and my families...

not

ACKNOWLEDGMENTS

I wish to give my sincere gratitude to every teacher in my life for helping me
become the person and the musician I am.

Many thanks to my teacher Professor Ralph Votapek (Piano/Committee Chair),
and my committee members: Professors Allan Gosman (Music Theory), Michael Largey
(Musicology/Ethnomusicology), Panayis Lyras (Piano), and Ted Tims (Graduate
Advisor) for their instructive guidance, and encouragement.

Special thanks dear friends Barb and Joe Backus for their generous advice on the
editing of my dissertation.

I would like to thank my families in China, France and in the US. for their love,
care and support.

Last but not least, I thank my husband Daniel for standing by me during all the

difficult times, and my son Julien being such a sweet child. Life with you is beautiful.

iv

TABLE OF CONTENTS

LIST OF TABLES ......................................................................................................... vi
LIST OF MUSICAL EXAMPLES ................................................................................ vii
INTRODUCTION ........................................................................................................... 1
CHAPTER I

REFLECTIONS OF ROMANTIC IDOLS — Four Etudes, Op. 4 ..................................... 5
CHAPTER 11

NEW DIRECTION — Twelve Etudes, Op. 33 ....................................................... 23
CHAPTER III

FOLK INSPIRATIONS - Mazurkas, Op. 50, Nos. 13-16 .............................................. 39
CONCLUSION ............................................................................................................. 54
BIBLIOGRAPHY ......................................................................................................... 56

LIST OF TABLES

CHAPTER I
Table 1. Early piano compositions and song cycles (1989-1908) ............................... 6
Table 2. Musical resemblance between the “Butterfly” étude and Op. 4, No. 2 ....... 10
Table 3. Tonal and formal relations among the four études of Op. 4 ........................ 17
CHAPTER II
Table 4. Two-part form I (AA‘coda) ....................................................................... 26
Table 5. Three-Part form I (ABA‘) ......................................................................... 28
Table 6. Three-Part form 11 (ABC) .......................................................................... 29
Table 7. Two-part form II (ABcoda) ....................................................................... 29
Table 8. Three-part form 111 (ABB‘) ....................................................................... 29
CHAPTER III
Table 9. Mazurka Op. 50, No. 13 ............................................................................ 46
Table 10. Mazurka Op. 50, No. 14 .......................................................................... 47
Table 11. Mazurka Op. 50, No. 15 .......................................................................... 48
Table 12. Mazurka Op. 50, No. 16 .......................................................................... 49

vi

LIST OF MUSICAL EXAMPLES

CHAPTER 1
Ex. 1. Szymanowski, Op. 4, No. 3 ............................................................................ 8
Ex. 2a. Szymanowski, Op. 4, No. l ........................................................................... 9
Ex. 2b. Scriabin, Op. 8, No. 6 ................................................................................. 10
Ex. 3a. Szymanowski, Op. 4, No. 2 ......................................................................... 11.
Ex. 3b. Chopin, Op. 25, No. 9 ................................................................................. 11
Ex. 3c. Chopin, Op. 10, No. 10 ............................................................................... 12
Ex. 3d. Scriabin, Op. 8, No. 10 ............................................................................... 12
Ex. 43. Szymanowski, Op. 4, No. 3 ......................................................................... 13
Ex. 4b. Scriabin, Op. 8, No. 11 ............................................................................... 13
Ex. 4c. Scriabin, Sonata No. 3, Op. 23 (3'rd mvt.) ..................................................... 14
Ex. 5a. Szymanowski, Op. 4, No. 4 ......................................................................... 16
Ex. 5b. Scriabin, Sonata No. 3, Op. 23 (4‘h mvt.) ..................................................... 15
Ex. 6a. Szymanowski, Op. 4, No. 1, Section A (mm. 1-4) ........... (refer to Ex. 2a, p. 9)
Ex. 6b. Szymanowski, Op. 4, No. 1, Section A1 (begin at m. 38) ............................. 19
Ex. 7a. Szymanowski, Op. 4, No. 3, Section A (mm. 1-5) ......... (refer to Ex. 4a, p. 13)
Ex. 7b. Szymanowski, Op. 4, No. 3, Section A1 (begin at m. 31) ............................. 20
Ex. 8a. Szymanowski, Op. 4, No. 4, Section A (mm. 1-4) ......... (refer to Ex. 5a, p. 16)
Ex. 8b. Szymanowski, Op. 4, No. 4, Section A1 (begin at m. 30) ............................. 21

vii

CHAPTER II

Exs. 9a-b. Etudes Nos. 5 and 6 ................................................................................ 33
Ex. 10a. Etude No. l ............................................................................................... 34
Exs. lOb-c. Etudes Nos. 3 and 4 .............................................................................. 34
Exs. lla-d. Etudes Nos. 8-11 .................................................................................. 35
Exs. 12a-b. Etudes Nos. 4 and 5 .............................................................................. 36
Exs. l3a-b. Etudes Nos. 6 and 7 ........................................................................... 36-7
Exs. l4a-c. Etudes Nos. 11 and 12 .......................................................................... 38
CHAPTER 111
EX. 15. Mazurka Op. 50, No. 13 (mm. 1-12) ........................................................... 45
Ex. 16. Mazurka Op. 50, No. 15 (mm. 29-34) ......................................................... 45
Ex. 17. Mazurka Op. 50, No. 13 (mm. 31-34) ......................................................... 47
Ex. 18. Mazurka Op. 50, No. 14 (mm. 12-15) ......................................................... 48
Ex. 19. Mazurka Op. 50, No. 15 (mm. 1-18) ........................................................... 49
Ex. 20. Mazurka Op. 50, No. 14 (mm. 17-22) ......................................................... 50
Ex. 21. Mazurka Op. 50, No. 16 (mm. 38-43) ......................................................... 51
Ex. 22. Mazurka Op. 50, No. 16 (mm. 1-10) ........................................................... 52

viii

INTRODUCTION

When we think about Poland and Polish music most of us immediately picture the
nineteenth-century piano poet, Fryderyk Chopin (1810-1849). Polish composers after
Chopin were greatly overshadowed by his imperative musical heritage. Not until decades
after Chopin’s death, did another composer, Karol Szymanowski, succeed in
reintroducing Polish music to the Western European musical arena in the early part of the
twentieth-century.

Szymanowski was born in Tyomszowka, Ukraine - a territory of the former Polish
kingdom,l on October 3’“, 1882. As the elder of five siblings, he was raised in a
conservative yet artistically inclined Polish landowner’s family. His early musical
education was first received at home, and later continued at a music school founded by
his uncle (Gustav Neuhaus) in Elisavetgrad. From 1901-1904, Szymanowski studied
composition with Marek Zawirski and Zygmunt Noskowski in Warsaw.

In 1905, Szymanowski and three other young composers (Grzegorz Fitelberg,
Ludomir Rézycki and Apolinary Szeluto) formed the “Young Poland” in music to
encourage progressive trends in Polish art music. The group was generously supported

by the wealth of Prince Wladyslaw Lubomirski (a student of Fitelberg), and by the talents

 

I As a unified kingdom, Poland’s history began in DC. 966. The time around 966-1770 was the glorified
“golden age” in Polish history. The territory of the Polish kingdom extended to the Black Sea and part of
today’s Ukraine, and was claimed geographically as one of the largest countries on the European map
during this period. However, due to its geographic position, Poland had been “a pawn on the tactical
chessboard of Eastern Europe.” (Samson, p. 11) In the seventeenth century, Poland was under attack by the
Swedes, fought with the Turks, and endured a Cossack rebellion in the southeastern region. In the late
eighteenth century, Polish territory was divided among Russia, Prussia and Austria. The tri-partition was
signed in 1772, 1893 and 1895 respectively. The political suppression from Russia was' the most
significant among the three. Two armed Polish uprisings were attempted in 1830 and 1863, but both
resulted in failure. Only until November ll‘h 1918 at the end of the First World War, did Poland regain
independence from the nearlylSO years of socio—political suppression by the partitions. The Polish territory
was once again remapped under the Versailles Treaty.

of famous musicians such as, Artur Rubinstein and Pawel Kochanski. Szymanowski’s
music in this early period reflects his interests in the Romantic and late Romantic styles.

During 1909-1914, Szymanowski traveled extensively to many places both within
and outside the European continent. He was exposed to different European musical
trends at the time, and gained tremendous interest in “exotic” cultures such as those of the
Mediterranean and the Arab regions. During the four-year period of the World War I
(1914—1918) Szymanowski remained in Tyomszowka. His musical style of this war time
period “somehow draws together the refined sonorities of Debussy, Ravel and late-
Scriabin and the impassioned late-Romanticism of the New German School.” 2

Following the reunification of Poland, Szymanowski returned to Warsaw in 1919.
After the first few difficult years, he reached a new turning point in his musical creativity.
He regained interest in the Tatra highlander’s music that he once rejected. The works of
this period generally bear either obvious or subtle folk inspirations.

In 1927, Szymanowski was appointed director of the Warsaw Conservatory.
Only two years later, however, he was forced to give up the directorship due to the
reoccurrence of severe mental depression and tuberculosis in both lungs. During his one-
year intensive treatment and rest at the Swiss health resort in Davos, he dedicated himself
to the writing an important treatise - The Educational Role of Musical Culture in Society.

1930-1931 were good years for Szymanowski. Along with the improvement of
his health, his personal fame was also well achieved. He was appointed Rector of the
Warsaw Academy of Music and received several honors and awards. Unfortunately, the

following years resulted in the continuation of deteriorating health and financial

 

2 Jim Samson, “Szymanowski. Karol” The New Grove Dictionary of music and Musicians, ed. Stanley Sadie
(London: Macmillan, 2002. Vol. 22), 894.

problems. On March 24‘“, 1937, Szymanowski died in a sanatorium in Lausanne at the
age of 55.

Even though Szymanowski is well recognized inside Poland and is remembered
as one of the foremost composers after Chopin, his name remains largely unknown to
today’s international audiences. Szymanowski’s music is unique and exceptional, and it
warrants our attention. His sixty—two published compositions include music for the
piano, voice, violin, opera, ballet, as well as various chamber ensembles. Perhaps being a
pianist himself, Szymanowski’s had written a significant number of piano works among
his compositions. As noted by Chylinska, “... this attachment to piano, as marriage of
convenience, became permanent.”3

The goal of this document is to trace the evolution of Szymanowski’s creative
life. Each chapter follows one of his main stylistic periods: Chapter I — Reflections of
Romantic Idols (this chapter exemplifies how Szymanowski’s early compositions are
deeply influenced by the Romantic styles); Chapter II - New Direction (this chapter
explores Szymanowski detachment to his early style and his interests in the new
compositional trends, such as the use of polytonality); Chapter III - Folk Inspirations (this
last chapter observes another shift in Szymanowski’s compositional styles due to
personal and political considerations). Three piano compositions are presented and
analyzed to illustrate these stylistic transformations: Four Etudes, Op. 4; Twelve Etudes,
Op. 33; and Mazurkas Op. 50, Nos. 13—16. Each composition is analyzed while looking

for the composer’s intentions and inspirations, but also taking into account the influences

of various backgrounds: musical, cultural and personal. This document, however, is only

 

3 Teresa Chylinska, Karol Szymanowski: His Life and Works (Los Angeles: University of Southern
California, 1993), 30.

intended as an introductory study rather than a comprehensive guide of Szymanowski’s

musical language.

CHAPTER I
REFLECTIONS OF ROMANTIC IDOLS

Four Etudes, Op. 4

The cultural development of Szymanowski’s adolescent years was much
influenced by his family’s genuine appreciation of music and literature. As a young
composer, Szymanowski was keenly aware of the aesthetics of the old masters. Among
many, he had “a strong admiration for Wagner, the greatest love for Chopin, and
among the contemporaries, he valued Scriabin.”" In literature, Szymanowski admired the
Romantic poems of Byron, Baudelaire, and those of the “Young Poland” poets.
Szymanowski was deeply inspired by the philosophy of “Art as religion” (the hierarchy
of Art) advocated by the “Young Poland” poets, and attracted by the extravagant
language as well as the nostalgic sentimentality of their poems.

The influences of these Romantic idols are witnessed in Szymanowski’s early
compositions written around 1898-1908. His compositions of this time were primarily
written for the piano and for the voice. One graduate change in Szymanowski’s musical
and artistic tastes can be seen in his early works, namely, the shift from Polish orientation
to Germanic inspiration. The selection of his song lyrics is a good “non-musical”
example. (See Table 1) While the poems of Opuses 2, 5, 7 and 11 are Polish, those of

Opuses l3 and 17 are German.

 

4 Teresa Chylinska, Karol Szymanowski: His Life and Works (Los Angeles: University of Southern
California, 1993), 23.

Table 1. Early piano compositions and song cycles (1989-1908)

 

 

Piano compositions Song cycles
- Nine Preludes, Op. 1 - Six Songs, Op. 2 (poems by Tetmajer)
- Variations in B-flat minor, Op. 3 - Three Songs, Op. 5 (Kasprowicz)
- Four Etudes, Op. 45 - The Swan, Op. 7 (Berent)

- First Piano Sonata, Op. 8 in C minor - Four Songs, Op. 11 (Micinski)

- Variations on a Polish Theme, Op. 10 - Five Songs, Op. 13 (Dehmel, Bodenstedt,
- Fantasy Op. 14 Bierbaum)

- Twelve Songs, Op. 17 (Dehmel Mombert,
Falke, Grief)

 

 

 

 

Many of these early song cycles and piano works share certain stylistic parallels
influenced by Romantic literature as well as music, namely, the emphasis on the dramatic
content, and in particular, the nostalgic sentimentality. One example of stylistic parallels
is shown between Six Songs, Op. 2 and Four Etudes, Op. 4, both written during the
period of 1900—1902 when Szymanowski was studying composition in Warsaw.

The lyrics of Six Songs, Op. 2 are selected from the poems written by Kazimierz
Tetmajer (1865-1946), a “Young Poland” poet. In accordance with the themes of
“Young Poland” poetry, these poems in general depict “a hedonistic escape from the
brutal realities of modern life and a yearning for Nirvana or death.”6 A translation from
the lyric of Op. 2, No. 4 depicts a “withdrawn from the world” feeling7:

Sometimes when half-asleep I dream of a wonderful female voice

singing angelic hymns, more beautiful than all the songs in the

 

5 Four Etudes, Op. 4 was dedicated to pianist Tara Neuhaus, a cousin of Szymanowski and the sister of the
prominent Russian pianist and pedagogue, Harry Neuhaus (1888-1964).
6 Jim Samson, The Music of Szymanowski (London: Kahn & Averill, Stanmore Press Ltd, 1980), 37.
7 .
Ibid.

world. I listen with my whole soul, while longing tears the heart
from my breast. I would follow this song to the ends of the earth. I
do not know if it is love or death which calls to me.

This “withdrawn from the world” aspect of the poem is reflected in the musical
character of Op. 4, No. 3. Perhaps, it was Tetmajer’s poem that inspired the musical
drama of this piano composition. Example 1 provides the score for mm. 40-58 of etude
No. 3. The two following paragraphs provide a stylistic analysis of the musical content
in relation to the dramatic implication of Tetmajer’s poem.

At mm. 40-43 (the scene right before the poem), the fiff climax tension is suddenly
frozen by a dramatic breakage on the B-flat minor chord (marked A and sfifi‘). Then, the
music resumes discreetly but painfully (marked sub. ppp and mesto) with the dissonant
half-diminished seventh chord on C syncopated with the rhythmic motive ( fi JV}: ),
and is supported by the dominant pedal on F that symbolizes the darkness. This Ieitrnotiv
idea is a direct influence of the Wagnerian musical tradition.

From mm. 43-58, where the scene related to the poem begins, the dramatic tension
slowly resolves back to tonic B-flat through the dominant pedal supporting a chain of
chromatic progression that suggests the transition from darkness to a “half-asleep” or
hallucinated dream stage. Following is the reminiscence of Theme 1 — a beautiful hymn-
like melody in octaves accompanied by a series of simple repeated chords. This time the
upper voice of the octaves is outlined to illustrate “a wonderful female voice” and the
“angelic hymn” of the “dream.” Supporting the somber melodic line, a half-diminished
seventh chord and an unresolved French sixth chord on C are emphasized respectively in

mm. 48-49, to stress the underlying pain “while longing tears the heart from my breast.”

With alteration, Theme 1 makes its last and partial appearance (mm. 53-54) in the tenor.
The mood of the coda continues to darken. Finally, the pain represented by the B-flat
minor is calmly resolved by the B-flat major through a Picardy third - a symbolic gesture
of “transformation” that often occurs in Bach’s music. This passage from mm. 53-64
could correspond to the last two phrases of the poem: “I would follow this song to the
ends of the earth. I do not know if it is death or love which calls to me.”

Ex. 1. Szymanowski, Op. 4, No. 3 (mm. 40-58)

 

pp semplice

 

Despite its generic title — Etudes, Szymanowski’s Op. 4 emphasizes more
importantly the musical drama rather than technique per se. Its pianistic writing reveals a
synthesis of various Romantic models such as Chopin and Alexander Scriabin (1872-
1915) in particular.

Although the Examples 2a-b8 depict a textural parallel between Szymanowski’s
Op. 4, No. l and Scriabin’s Etudes, Op. 8, No. 6 written in 1894, other evidences suggest
the influence of several Romantic models prior to Scriabin such as Chopin, Brahms and
Liszt. For example, the familiar Brahmsian vocabularies are the parallel sixths and the
heterorhythm, as well as the technique of descending melodic movement in one voice in
contrary motion with the other, and the use of melody to outline a chord (see Example
2a). While the contrapuntal style and the melodic embellishment are Chopinesque in
flavor, the juxtaposition of parallel octaves, in combination with chordal reinforcements,
is a signature of Lisztian climactic tactic (refer to Example 6b, p. 19).

Ex. 2a. Szymanowski, Op. 4, No. 1

Allegro moderate.

’2’-

  
 

 

 

 

 

 

 

 

  

 

 

  
  

..._.-: 3h“ “ '
77])2’a’olcc legalissz‘mo ' or:

/’

 

 

 

 

 

 

 

 

 

 

8 This pair of examples was first cited by Jim Samson in The Music of Szymanowski (London: Kahn &
Averill, Stanmore Press Ltd, 1980), 30.

Ex. 2b. Scriabin, Op. 8, No. 6

 

1 9 l
(on gmrm 22,-2.2

 

-- if...

:2

 

Szymanowski’s Op. 4, No. 2, however, bears clear imprints of both Chopin and

early Scriabin. For instance, Chopin’s “Butterfly” études (Op. 24, No. 9) can well be a

formal and stylistic model for Szymanowski’s Etude No. 2 (Examples 3a-b). Table 2

illustrates a comparative overview of the two e’tudes. These two études share the same

key, as well as several musical characteristics such as tempi and expressions. More

importantly, they exhibit the same formal design and overall tonal scheme.

Table 2. Musical resemblance between the “Butterfly” étude Lnd Op. 4. No.4

 

 

 

 

 

 

 

pedal in B pushing towards the
climax; climax reached and
resolved on A'; tonic pedal
dominates coda and leads to a
leggierissimo ending.

 

Etudes Chopin, Op. 24, No. 9 Szymanowski, Op. 4, No. 2
Expression Allegro assai (leggiero) Allegro molto. (leggiero e veloce)
marks
Tonal G-flat major G-flat major
center
Form A (mm. 1-16) A (mm. 1-18)
B (mm. 17-24) B (mm. 19-33)
A1 (mm. 25-36) A1 (mm. 34—50)
Coda (mm. 37-51) Coda (mm. 50-64)
Stylistic Light character in both A and B Light character in both A and B
treatments with l-V progression; dominant modulates from tonic to various key

areas with ample chromatic
sequences; dominant pedal in B
pushing towards the climax; climax
reached and resolved on A', tonic
pedal dominants coda and leads to a
leggierissimo ending.

 

10

 

Despite the resemblances to Chopin’s “Butterfly” étude, the chromatic double
notes patterns in Szymanowski’s Op. 4, No. 2 demonstrates an influence of Scriabin’s
Op. 8, No. 10(see Examples 3a and 3d).

The textural design and the unique rhythmic display of Szymanowski’s Op. 4, No.
2 resemble that of Chopin’s Etudes, Op. 10. No. 10 (Example 3c). The idea of rhythmic
entanglement is created in Szymanowski’s Op. 4, No. 2 (Example 3a) by the use of
polymeter: the right hand is 6/8 divided in six groups of sixteenth-notes (per measure),
juxtaposing with the left in 2/4 divided in four groups of triplets.

Ex. 3a. Szymanowski, Op. 4, No. 2

Allegro molto. (leggiero a veloce)

    
    

 

o r. . . .
_ 0““ smut:

A

Ex. 3b. Chopin, Op. 25, No. 9

Allegro assai
/’"‘ / ' x-x . /“ /-\

ll

Ex. 3c. Chopin, Op. 10, No. 10

Vivace assai

   
   

gatissimo

Ex. 3d. Scriabin, Op. 8, No. 10

Allegro ' ? .

 

 

From the first glance, the opening of Szymanowski’s Op. 4, No. 3 (Example 43) has
obvious textual similarity to the beginning measures of Scriabin’s Op. 8, No. 11
(Example 4b) as cited by Samson’. However, the thematic structure of the Szymanowski
etude is even more closely related to the third movement of Scriabin’s Sonata No. 3, Op.
23 (Example 4c). The similarities shared by Examples 4a and 4c are: the arch-like
melodic descending sequences followed by a ascending gesture, the simple chordal

accompaniment, as well as the rolled chords.

 

9 Jim Samson, The Music of Szymanowski (London: Kahn & Averill, Stanmore Press Ltd, 1980), 30.

12

Ex. 4a.

Szymanowski, Op. 4, No. 3

Andante -ln modo d’una canzane-

   
 

logalissimo

   

£4

 

   
 

 

Ex. 4b.

Scriabin, Op. 8, No. 11

 

l3

Ex. 4c. Scriabin, Sonata No. 3, Op. 23 (3’d mvt.)

Andante J16:

 

Szymanowski’s Op. 4, No. 4 exhibits instances of Wagnerian influence in tonal
structure as well as in motivic design. The key of C major is the tonal orientation. The
overall tonal framework of Etude No. 4 is: IV(section A)-V(section B)-IV(section A‘)-
l(coda). (In other word, section A is orbiting the key of F while section B is around the
key of G, and the coda is in key of C.) However, the key areas in sections A, B and Al
are often camouflaged by highly unstable chromatic melodies and sequences (see
Example 5a). This succession of tonal instabilities is only resolved at the coda where the
tonic on C is confirmed.

The stressed yearning motive in the first section (Example 5a) also recalls a
Wagnerian vocabulary, namely, the persistent sequential statements of semitone
progression that thirst for resolution. The similar kind of Wagnerian motivic gesture is
also applied, in a larger scale, in the fourth movement of Scriabin’s Sonata No. 3

(Example 5b).

14

Ex. 5b. Scriabin, Sonata No. 3, Op. 23 (4"’ mvt.)

Presto con J- - 53

    

 

 

 

 

 

15

Ex. 5a. Szymanowski, Op. 4, No. 4

Allfifro "ma non troppo} Affeuuoso e rubato.
l

_al.

 

A /"‘— "\.

    

 

 

"3

Overall, the opening passages of Szymanowski’s Etudes Nos. 3 and 4 have clear

characteristic resemblances to those of the third and fourth movements of Scriabin’s
Sonata No. 3. (See Examples 4a, 4c, 5a and 5b). Scriabin’s musical ideas perhaps once
again inspired Szymanowski. First of all, both Etude No. 3 and the third movement are
somber yet tranquil, while the No. 4 and the fourth movement are restless and passionate.
More importantly, the descending melodic gestures and ascending modulating sequences
of the fourth movement are used in a similar manner in Etude No. 4: the sequential
musical pattern starts with two identical statements of the theme followed by a thematic
expansion, then the whole phrase modulates up a chromatic half-step intensifying the
musical drama. (The brackets in Examples 5a-b indicate the stages of sequential

movement, and the arrows point to the harmonic changes.)

16

The four e’tudes of Op. 4, despite the differences in melodic contents, share
several common characteristics that unify them as a group. These common
characteristics can be found in the use of form, tonality, dramaturgical design, and
rhythmic treatment. Table 3 provides an overview of the four e’tudes including the
general tonal scheme, formal design and duration.

Table 3. Tonal aad formal relations among the four e’tudes of Op._4

 

 

 

 

 

Etude Tonal center/ Form A B A1 Coda

No. l E-flat minor mm. 1-25 mm. 26-37 mm. 38-47 mm. 48-59
No.2 G—flat major mm. 1-18 mm. 19-33 mm. 34-48 mm. 49-64
No.3 B-flat minor mm. 1-15 mm. 16-30 mm. 31-44 mm. 45-58
No. 4 C major (in coda) mm. l-17 mm. 18-29 mm. 30-44 mm. 45-64

 

 

 

 

 

 

 

 

From the perspective of key relation, the tonal centers of these études indicate
certain connection among the pieces. As shown in Table 3, the tonal centers can all be
arranged to be a major or minor third apart [C-Eb-Gb-Bb]. The keys of E-flat minor, G-
flat major and B-flat minor are closely related. The key of C major is related to the key
of E-flat minor through a type of tonal network relation, namely, E-flat minor = E-flat
major = C minor = C major. (The “=” means “is related to”). In that sense, C major and
G-flat major are also “closely” related. Wagner applied this type of tonal network system
in Tristan und Isolde.

Although the overall tonal scheme does not agree entirely with that of a multi-
movement sonata, the general character of the four études suggest a quasi-sonata in
design. The tempo marks of études Nos. 1-4 are indicated as Allegro moderato, Allegro
(leggiero e veloce), Andante, and Allegro respectively, resembling those of a traditional

fast — fast — slow — fast four-movement sonata.

l7

The form of all four e’tudes is in conventional ternary A-B-A'-Coda design. The
distributions of section length are similar from piece to piece, as well as the arch-like
dramaturgical design: (A) low in tension — (B) building of tension — (A') reaching to
climax and climax — (Coda) relaxation. This dramaturgical design is supported not only
by the use of related or contrasting materials in A and B along with a summary of these
ideas in the Coda, but more importantly also by the dramatic musical “enhancement” in
A’. In all four études, Al is where the primary theme of the music returns and where the
dramatic tension reaches a climactic stage.

Examples 6-8 demonstrate in a comparative style how Szymanowski transformed
a dramatic low point (A) into a high point (A') via the same thematic materials derived
from the Theme .1 of A.
Etude Op. 4. No. 1
Ex. 6a. Op. 4 No. 1, Section A (mm. 1-4)* (refer to Example 2a, p. 9)
*Nostalgic and lyrical in character, Section A of Etude No. l is indicated pp and (dolce
legatissimo poco rubato). This four-bar phrase is in four-voice polyphonic texture: (in
the right hand) the soprano and alto melodies consist of ascending parallel-sixth duplets
and descending triplets in a antiphonal (call and respond) style and in sequential
movements; (in the left hand) the tenor countermelody mirrors the melody in contrary

motion, while the bass outlines a i-iv-ii-v7-i harmonic progression.

18

Ex. 6b. Op. 4, No. 1, Section A' (begins at m. 38)*

a tempo

If

 

wsempre (a tempo) accel. . . . . - - - strepitosn

 

*Passionate and brilliant in character, Section A1 of Etude No. l is indicated ff-fiff, (a
tempo), accelerando and strepitoso. The linear opening theme of Section A is now
replaced by a heavy musical texture. Although the beginning thematic materials remain
largely consistent with Section A, they are fortified by the juxtaposition of double octaves
and chords. To increase the level of dramatic turbulence, a heterorhythmic mirror
inversion between the right hand and the left hand is created in mm. 38-39.
Etude Op. 4, No. 2

Unlike the other three études, Etude No. 2 has no textual changes between
Sections A and A‘. The only difference between their openings passages is the dynamic
range, namely, pp in A and flA‘.
Etude Op. 4. No. 3
Ex. 7a. Op. 4. No. 3, Section A (mm. 1—5)* (refer to Example 4a, p. 13)
*Calm and melancholic in character, Section A of Etude No. 3 is marked In modo d’una

canzone — (con dolore), ppp, and legatissimo. This phrase consists of a hymn-like

I9

melody doubled in octaves in the right hand and a steady conjunct chordal
accompaniment in the left. An example of heterorhythm is illustrated by the dotted
rhythm in the melody juxtaposed with the even rhythm in the accompaniment. Residing
at the mid-register of the piano, the melody and accompaniment are rather close in range
which lead to the frequent overlapping of voices.

Ex. 7b. Op. 4, No. 3, Section A1 (begins at m. 31)*

 

 

(passionato)

 

*Section A' of Etude No. 3 is indicated ffi‘ and passionate. While the thematic material
and the basic rhythmic pulse remain the same, the dramatic level is completely changed:
the right hand is now combining the theme and the accompanying motive one octave
higher than in A, the left hand is maximizing the drama by furnishing a chordal
accompaniment in the mid-register of the piano supported by low octaves outlining the
harmonic progression, as well as the dramatic ascending runs in thirty-second notes

complete with trills.

20

Etude Op. 4. No. 4

Ex. 8a. Op. 4, No. 4, Section A (mm. 1-4)* (refer to Example 5a, p. 16)

*Marked Aflettuoso e rubato, p and legatissimo, Section A of Etude No. 4 expresses a
longing and unsettled emotion. This emotional uncertainty is created by various musical
factors, such as: 1) the three-time emphasis on the sighing motive (7-6 suspension) of the
right-hand; 2) the fluctuating melodic accompaniment of the left-hand; 3) the
heterorhythm between the melody and its accompaniment.

Ex. 8b. Section A1 (begin at m. 30)*, Op. 4, No. 4

(legato) ___———————~.g\

sempre)
m {12

.-
L- ..——.—.. --.

—-—..._ .... .

 

 

8m ~x loco

,/"’"—-—‘——\‘ f u,fi‘~\“”~

 

 

*Section A1 of Etude No. 4 (marked marcato con passionate, ff and legato) exhibits a
different dramaturgical design from that of Section A. The opening theme is now
stressed in the left hand (tenor) along with rolling chords (bass) on the first and the third
beat of the measure. The right-hand counterpart dramatizes the melody with its intricate

ascending double notes creating a massive polyphonic texture.

21

In addition to the textual changes between the A and Al sections, the musical
drama of the four e’tudes is intensified by the abundant uses of extreme dynamic contrast
(such as subito p, subito f, pppp, fi?‘ with sfij‘), tempo rubatos, and dramatic vocabularies
(such as, ajflitto, aflettuoso, flebile, dolente, risvegliato, aflanato, impetuoso, patetico and
ardende amoroso).

Four Etudes, Op. 4, as one example, illustrates the early stage of Szymanowski’s
creative life. During this time, the artistic influences of the Romantic and late-Romantic
styles had a deep impact on the young composer. These influences are seen primarily in
the adaptation of the nostalgic sentimentality derived from Romantic literatures, as well
as the dramatic expressions of his Romantic musical idols. It is by no means saying that
the early works of Szymanowski are copies of his role models. They are rather music
creations based on an existing foundation and guided by the young composer’s genuine
talent.

Szymanowski’s early compositions were well received inside Poland by the
audiences as well as music critics, and he was recognized as one of the pillar figures of

the “Young Poland” musical circle.

22

CHAPTER II
NEW DIRECTION

Twelve Etudes, Op. 33

Szymanowski’s musical taste shifted more towards the late German-Romantic
style after 1908. The young composer was then a great admirer of Richard Strauss
(1864-1949). Despite his maturity in composition technique, his works of this time drew
strong criticism for their obvious Germanic imprints and lack of individuality.

From 1909-1914, Szymanowski traveled extensively to places both within and
beyond the European continent. He visited and periodically stayed in southern Italy,
Sicily, Vienna, London and Paris, and traveled as far as Algeria and Tunisia in North
Africa. This five-year extensive travel stimulated his musical creativity and inspired him
to take on a new musical direction. This departure was characterized by the experiment
of new sound, new color and other creative techniques as demonstrated, for instance, in
Twelve Etudes, Op. 33 for solo piano.

Szymanowski returned to his family estate in Tyomszowka just before the
outbreak of World War I. During the whole war-time period of 1914-1918, he remained
mostly in Tyomszowka (also briefly in Kiev) and devoted himself to intensive
compositional activities. A good number of important works were created during these
productive four years. In various ways, these works echo Szymanowski’s experiences
from his five years of travel. On the one hand, the influence of Impressionistic musical
color is one of the most prominent characteristics of his middle period compositions.

Yet, as Samson noted, “unlike his earlier music, the works of the war years remain at a

23

safe distance from their models, drawing upon them judiciously and selectively.”10 On
the other hand, the influence of “exotic” cultures (also a familiar element of the
Impressionistic style) is clearly witnessed as well. The insinuation of “exotic” cultures,
in Szymanowski’s case, points in particular to those of the Mediterranean (Italy, France
and Greece) and the Arab regions. It was the mythologies and the fairy tales of these
cultures that inspired the composer’s personal musical fantasies.
The four programmatic music cycles listed below represent the genesis of
Szymanowski’s personal interpretation and selective adaptation of the “impressionistic”
sonorities as well as the “exotic” and “mystic” ingredients.
1. Metopes, three poems for piano, Op. 29 (1915), subtitled Isle of Sirens,
Calypso, and Nausicaa.

2. Myths, three poems for violin and piano, Op. 30 (1915), subtitled Arethusa’s
Source, Narcissus, and Dryads and Pan.

3. The Masks, three pieces for piano, Op. 34 (1915-1916), subtitled
Scheherezade, Tantris the Clown, Don Juan ’5 Serenade.

4. Songs of Fairy Princess, Op. 31. (1915).

Along with these instrumental and vocal compositions, a number of less
programmatic works also depict the same musical language of the period. These works
are: the Symphony No. 3, Song of the night, for tenor, soprano, mixed choirs and
orchestra, Op. 27 (1914-1916); Violin Concerto No, 1, Op. 35 (1916); and Twelve

Etudes, Op. 33 (1916).

 

to Jim Samson, “Szymanowski, Karol’ ’, The New Grove Dictionary of music and Musicians, ed. Stanley
Sadie. (London: Macmillan, 2002. Vol. 22), 896.

24

Twelve Etudes, Op. 33 is a lesser-known and smaller opus of Szymanowski’s
middle-period. Consisting of twelve miniature pieces, Op. 33 is a musical entity which
displays the composer’s individuality as well as the pianist’s technical and musical
abilities.

Szymanowski’s compositional intent for this set of e’tudes is not absolutely clear.
One hypothesis has been put forward by Chylinska.” She theorizes that Op. 33 was
possibly composed after ’Szymanowski’s encounter with pianist Sasha Dubianski, a
young protége’ of Alexander Glazunov. Dubianski was the first to study the études, and
was also the person to whom Szymanowski dedicated Scheherezade (from the Masques).

My opinion is that Twelve Etudes, Op. 33 could have a subtle relation to Chopin’s
Twelve Etudes Op. 10 and his musical legacy admired by the French. During the year of
1915-1916, Alfred Cortot'2 published a comprehensive study guide, the e’dition de travail,
for Chopin’s Op. 10. In the same year, Claude Debussy (1862-1918) published a set of
twelve études in the memory of Chopin. Incidentally, also in 1916, Szymanowski’s
Twelve Etudes, Op. 33 was completed and dedicated to Cortot. This set of études was
published in 1919, according to Maciejewski”. One can say, the Frenchmen (Debussy
and Cortot) dedicated their contributions to honor the Pole (Chopin), and a Pole
(Szymanowski) returned the favor to the two French musicians.

Whether or not Szymanowski knew about Debussy’s Twelve Etudes is

inconsequential. What is important is that despite their musical individualities, the two

 

” Teresa Chylinska, Karol Szymanowski: His Life and Works (Los Angeles: University of Southern
California, 1993), 108.

'2 Cortot (1877- 1962) was a leading French pianist, conductor, and pedagogue of the twentieth-century.

'3 BM. Maciejewski, Karol Szymanowski: His Life and Music (London: Poet’s and Painter’s Press, 1967),
r 15.

25

sets of études share one common idea, namely, the combination of high artistic aim and
pedagogic purpose. Chopin’s two sets of twelve études were the first to achieve this
revolutionary breakthrough in the nineteenth-century. Other examples include: Liszt’s
twelve transcendental studies, concert études, and Schumann’s symphonic études. This
idiom has become a stylistic norm in many twentieth-century works of the same category.

In the case of Debussy’s études, the pedagogic goals are well indicated by
subtitles as followed: 1. for the “five fingers” in the manner of Mr. Czerny; 2. in Thirds;
3. in Fourths; 4. in Sixths; 5. in Octaves; 6. for Eight Fingers; 7. in Chromatic Half-Steps;
8. for Ornaments; 9. for Repeated Notes; 10. for Contrasted Sonorities; 11. in Compound
Arpeggios; 12. in Chords”. Debussy’s musical language flourished around these
technical focuses - much in the tradition of Chopin and Liszt.

Unlike Debussy’s études, the training purposes of Szymanowski’s études are less
clearly defined. Although a few e’tudes are obvious (No. 1 for large stretches, No. 6 for
chords and No. 12 for double intervals), others contain a mixture of different elements.
Szymanowski’s Op. 33 is not a typical type of “method book” per se, but rather a musical
creation which is supported by mature pianism.

From a stylistic perspective, Szymanowski’s musical vocabulary in Op. 33 differs
greatly from that of his early period. A new musical style, deriving from the
Impressionistic reservoirs, is seen in the adaptation to less restricted forms, the
experimentation with polytonal or polymodal structures, the creative use of motivic

gems, and the exploration in polyrhythmic designs.

 

'4 These subtitles are translated and used in the Debussy - Twelve Etudes for the Piano, Schirmer edition,
vol. 1987.

26

As can be seen from Tables 4-9, the application of form in this set of études is by
no means conventional. The varieties of form are shown as: AA’(coda) in Nos, 1, 2, 4, 7
and 10; ABAl in Nos. 3, 8, 9 and 11; AB(coda) in No. 6; ABC in No. 5; as well as ABBl
in No. 12. Because of the polytonal harmonic nature of the music, these forms are
generalized primarily through the distribution of melodic contents and “cadences” that
are not guided by traditional tonic and dominant relations. In other words, the definition
of cadence is used loosely as a reference to indicate any major changes of melodic
gesture and bass movements.

Despite the fact that the tables give an impression that the études are designed
under a “clear-cut” format, the music is sometimes in conflict with the rigid divisions of
this labeling system.

Table 4. Two-part form (I)

 

 

 

 

 

 

Etude / Form A A1 Coda
No. 1 (a) mm. l-8 (a‘) mm. 19-22 mm. 31-37
(b) mm. 9-14 (b') mm. 23-26
(transition) mm. 15-18 (retrans.) mm. 27—30
No. 2 mm. 1-13 mm. 14-27
No.4 (a) mm. 1—7 (a‘) mm.l6-22
(b) mm. 7-12 (b1) mm. 22-27
(transition) mm. 13-15
No. 7 (a) mm. 1-5 (a') mm. 13-19
(b) mm. 5-12. (b') mm. 19-28
No. 10 (a) mm. l—13 (a') mm. 36-50
(b) mm. 14-28 (b') mm. 51-58
(transition) mm. 28-35 (coda) mm. 59-68

 

 

 

 

 

 

27

Table 4 shows the AA1 form composed of section A - the statement of the
contrasting themes or melodic ideas, and section A‘- the restatement of these contrasting
themes (with some variations). However, not every piece is treated in this predictable
format. Etude No. 1 is a good example. Although the melodic material of Al is
obviously derived from A, it is melodically transformed by the freedom of inversions,
contractions and redistribution. But more importantly, it is transposed. (By
conventional understanding, AI is the return of A, and thus usually remains in the same
tonal area as A.) In the case of e’tude No. 1, the true “tonal” reoccurrence of A is
postponed until the coda.

Table 5. Three-part form (I)

 

Etude / Form A B A1
No.3 mm. 1-8 mm. 11-14 mm. 15-21

 

(transition) mm. 9-10

 

 

 

No.8 mm. 1-10 mm. 11-16 mm. 16-21

No. 9 mm. 1-21 (a) mm. 22-32 mm. 45-56
(b) mm. 33-45

No. 11 mm. 1-2 mm. 3-6 mm. 7-9

 

 

 

 

 

 

Table 5 demonstrates the use of traditional ternary structure. In general, B brings
thematic contrasts to the two outer sections, A1 retains nearly the same materials from A
with modulation and dramatic expansion (Etudes Nos. 3, 8, and 11). Comparing to the A
to Al, the thematic materials in A1 of Etude No. 9 is condensed. In addition, an example
of enharmonically spelling is observed in Al (the melody that starts on A-flat in section A

is spelled on G-sharp in A').

28

Etude No. 3 is the most difficult to be divided into clear-cut sections because of
its continuity in melodic and textual design from (mm. 1-14). Yet it does contain some
kind of melodic progression within these measures. A dramatic reappearance of A on
mm. 15 (with modulation and dramaturgical expansion) clearly defines A‘.

Table 6. Threeigart form (II)

 

Etude / Form A B C
No. 5 mm. 1-4

 

mm. 5-9 mm. 9-13

 

 

 

 

 

 

For the sake of consistency, Etude No. 5 is labeled in capital letters as a three
sectional through-composed structure. Yet it is perhaps better described with the use of
lower case letters a, b, and c, for each of the three sections consists of only a few
measures of music. They are closer to three different melodic ideas than actual
“sections.” However, because of the slow tempo these “sections” sound much enlarged.
Etude No. 11 (see table 5) is also characterized in the same way.

Table 7. Two—part form (ID

 

Etude / Form A B Coda
No. 6 mm. 1-14 mm. 15—23 mm. 23-34

 

 

 

 

 

 

 

Like Etude No. 3 (in table 4), Etude No. 6 is also melodically and textually related
among sections. Yet the last section of No. 6 is defined as a coda because of the use of a

quasi-tonic pedal and the lack of thematic development.

Table 8. Three-part form (III)

 

 

 

 

 

 

Etude / Form A B B1
No. 12 (a) mm. 1-12 (a) mm. 26—35 (a) mm. 59-66
(b) mm 15-25 (b) mm. 35-46 (b) mm. 66-78
(0) mm. 46-58 (d + coda) mm. 78-99

 

29

 

In Etude No. 12, the division between B and B1 is elusive. This is because the
thematic materials from two individual subdivisions collide into each other and become
one musical entity. Musical unity, rather than contrast, is emphasized within each of the
études in Op. 33, with the exception of Etudes Nos. 4 and 9 in which the thematic
materials in A and B are different.

Besides the use of less restricted form, the harmonic language and the melodic
contents in Op. 33 are both unique and innovative. The latter two factors play a
prominent role in the forging of this set of études.

Even though Op. 33 exhibits certain Impressionistic influences, its style is rather
unlike those of Debussy’s and Ravel’s that we are more familiar with. The most
important indication of the Impressionistic influence is indicated by the use of the whole-
tone15 and the pentatonicl6 pitch collections as well as the octatonicl7 collection. The
octatonic collection is more difficult to detect, however, because it is often camouflaged
by the pervasive chromaticism present throughout the music. The diatonic collection is
also included in this composition but only as a supporting and contrasting color.

Despite of the reminiscences of Impressionistic sonorities, Op. 33 is not simply a
reproduction of any specific kind of Impressionistic style. It is rather a musical collage in
which the composer creates his own musical language in reference to a selection of
Impressionistic ingredients. As an example, Etude No. 3 (see Example 10b), the G-flat
pentatonic collection on the right hand overlaps with the C diatonic collection on the left

almost throughout the piece. However, because the two keys are one tritone apart, the

 

'5 The whole-tone pitch collection includes both the even set [0,2,4,6,8] and the odd set [l,3,5,7,9].
‘6 The pentatonic, also referred as the “black keys”, consists of only one transposable set, [0,2,4,7,9].

'7 The Octatonic collection includes three different sets, [0,1,3,4,6,7,9,10], [1,2,4,5,7,8,10,1 1] and
[2,3,5,6,8,9,11,12].

30

dissonance is maximized. This kind of unique bitonal treatment is not unusual in Op. 33.
Even though Debussy and Ravel also applied (to some extent) the idea of bitonality in
some of their works, the constant and distinctive dissonant quality of Op. 33 did not agree
with their musical styles.

Instead, the dissonant sound in Op. 33 previews more closely the tonal language
of Scriabin’s late works in which the tritone, minor second, major seventh and major
ninth, as well as tone clusters and bichords (chords on white keys and black keys
simultaneously) are common vocabularies. However, despite the ample use of
tritone/Perfect fourth combinations in Op. 33, there is no literal application of the famous
Scriabin “mystic” chord [C,F’,Bb,E,A,D].

The simultaneous use of several tonalities, or polytonality is pervasive in Op. 33
as well. However, the polytonal structure is demonstrated not by the layering effect like
in the bitonal treatment, but rather by a mixture of the different tonalities in one entity.
Despite its tonal ambiguity, there is usually one dominating pitch pervading the whole
polytonal syntax.

Because of its dissonant and polytonal contents, it is difficult to determine
whether to call Op. 33 a polytonal work or an atonal work. The absence of key
signatures (in most of the pieces) together with the enormous number of accidentals does
not suggest one way or the other.

However, there is one piece that suggests Op. 33 is polytonal rather than atonal.
In the key of E-flat, Etude No. 5 is the only piece in the whole set that uses key
signatures. Despite the fact that it modulates four times within a thirteen-measure

duration, the tonal structure still holds. The question is why did Szymanowski include a

31

tonal piece into this basically “atonal” sounding work? Szymanowski may have used the
Op. 33 as an experiment of different tonal colors and possibilities. For example, despite
of their dissonant nature, each of the twelve études has some kind of “key orientations”
for instance, the octatonic flavor in Etude No. 1, the chromatic contours in Etude No. 2,
the pentatonic quality in Etude No. 3 and the whole-tone gestures in Etude No. 7.
Therefore, it is completely justified to have one piece solely for the demonstration of the
“traditional” diatonic major and minor keys. This piece of evidence is enough to suggest
that Op. 33 is by no means entirely “atonal.”

Ironically, although Etude No. 5 is tonal, it sounds unstable in comparison to the
rest of the set. This is because once the ear adjusts and adapts to the dissonance as a form
of stability, what comes in contrast to this stability will sound unstable. In other words,
the traditional understanding of tonal stability and instability is being challenged in this
case.

While the polytonal structure provides an overall musical framework, the use of
polyrhythmic gestures as well as the creative manipulation of derivative melodic and
motive ideas highlights the unity of Op. 33. Just as Szymanowski experimented with
polytonal musical language, he explores polymetric structure in Op. 33 as well. Several
e’tudes use interchangeable polymeters, for example, Etudes Nos. 4 and 7 (6/8 and 7/8),
No. 8 (4/8 and 2/8), No. 10 (4/8, 5/8, and 3/8) and No. 11 (12/8 and 9/8).

The subtle use of rhythmic elision is also found, for instance, between the last
measure of Etude No. 5 and the first measure of No. 6 (see [ ] in Examples 9a-b). Notice
the Etudes No. 5 and No. 6 are marked 4/4 and 3/8 respectively. The final measure of

No. 5 consists only of three quarter beats, while the opening measure of No. 6 contains

32

two eighth beats grouped together in quarter value. In short, the two eighth beats are the
missing fourth beat of No. 5. This rhythmic emerging idea is united and reinforced by
the harmonic and melodic elision in the same example. In this example, the two chordal
sonorities that conclude Etude No. 5 are, at the same time, the anticipation of the parallel
chordal movements in No. 6. To expand the idea of rhythmic interplay, Etude No. 6
demonstrates an intriguing rhythmic sonic illusion, namely, the triple meter 3/8 is
diverged by the eighth-note groupings in 2/8 throughout the piece.

Exs. 9a-b. Etudes Nos. 5 and 6

5 . , dole: rtt. .____.__

dim“. e rallent ..

b

VI vace. (Agitato r marcato. ligamso.) >

 

    

>V

The use of derivative thematic and motivic ideas is shown in several different
ways. The first is in a global “theme and variation” style. For example, Etudes Nos. 1, 3
and 4 clearly share one thing in common, namely the “black and white key” motive
conceived in the first measure of Etude No. 1. This motive consists of a
pentatonic/octatonic melody over a whole-tone/diatonic accompaniment (Example 10a).
This thematic structure is first transformed in Etude No. 3 and applied in No. 4

(Examples 10b-c). Although the musical textual designs are different between the

33

opening passages of Etudes Nos. 3 and 4, the thematic and harmonic focal points are
identical: the right hand pentatonic motive remains in the same register and the diatonic
chordal emphasis is in different octaves with the same notes. Etude No. 6 (Example 9b)
also applies the same motivic gesture.

Ex. 10a. Etude No. 1 (the “black and white key” bitonal motive)

Presto.

b

    
  
 

PI) legatisslmo

Exs. lOb-c. Etudes Nos. 3 and 4

Vivace assai. (Agitatoj

 

Presto. Delicatamerrte. setup

-----------------------------------------------------------------------------

' 0
“1001531".

4. . mm.

Another illustration from the same type of “theme and variation” idea is

represented by a different kind of melodic motive, namely, the three-note motive [C,B,D]

34

collected from the last bass-notes (quasi-tonic) of Etudes Nos. 1, 2 and 3 respectively.
This melodic motive is recalled mainly in the second half of Op. 33. Examples 1.1 a-d
depict the reencounters with this particular motive ([0,1,3] in prime form) and its
transformations in Etudes Nos. 8, 9, 10 and 11. The three-note motives are grouped
separately by the following symbols: 0 and Cl.

Exs. lla-d. Etudes Nos. 8-ll

Animate. (Cnpriccioso e fantastical

b 5::

Lento assai mesto.
A

    
 

  

' le err) sa
an my);

8. l: 9.

  

 

Presto. (mollo agitate) Te

 

 

 

il basso It‘galisstmo

Andante soave.
ten.

  
 

------

 

ll.

35

The second type of derivative motive idea is more localized and restricted
between two consecutive pieces. In Examples lZa-b, the E minor motive [Gb—Bb]
introduced in the second theme of Etude No. 4 is adopted as the opening motive of Etude
No. 5 in E major. In Examples 13a-b, the descending melodic gesture [Ab,Gb,Db,Eb] from
Etude No. 6 is transformed into [A,G,D,Eb] at the opening theme of Etude No. 7.

Exs. 12a—b. Etudes Nos. 4 and 5

(rubato capricctoso)

4. . poco sostenuto

 

Andante espressivo

    

5° Wdolce

 

Exs. 13a-b. Etudes Nos. 6 and 7

 

36

Allegro molto. lam Moflurlesco.)

unu..---I-~-npnn--In---~--~-. -- --- III-Int- ~v~ -o--"“"‘ ' '
9. o ant-call o - -.-..---..-...... .n..-.A-...---oga " ' "' " ' “"' """"' "‘

basso marcatisstmol

 

In addition to their motivic connections, the twelve études of Op. 33 are linked
together by different types of melodic relations between the ends of one piece and
beginning of the next. These relations are made more prominent by the fact that all but
the last étude is marked attaca. Examples of the types of melodic connection are:
chromatic relation (Etudes Nos. 1-2, 2-3), common tone or octave equivalent relation
(Etudes Nos, 3-4, 4-5, 7-8, 10-11), and cadential relation (Etudes Nos. 11—12). While the
first two categories give a musical continuity to the set, the latter provides tonal
satisfaction to the equal tempered polytonal structure.

While the chromatic and common-tone relations are typical in Op. 33, the
cadential relations are sparse. Two important kind of cadences relation (Examples l4a-b,
c-d) are found between Etudes Nos. 11 and 12. The V-I cadence (Examples 14a-b) is
found between the low F in No. 11 and the low B-flat in No. 12, providing a smooth
transition to the finale of the Op. 33. The IV-I relation is found between the same F (in
Example 14a) and the C (in Example 14c), providing a final closure to the entire
composition.

Another interesting V-I cadential relation is revealed by relating the G (in the last

measure of Etude No. 12 to the C in the first measure of Etude No. 1 (refer to Example

37

14c and Example 10a). This V-I relation, though it is not obvious, links the music back
to where it first departed. It is an ingenious cyclic idea.

Exs. l4a-c. Etudes Nos. 11 and 12, V-1 and IV-I cadential relations

I 1 dolr’lss.

 

V attacca:

   
   

V-l (local) ' IV-I (global)

Presto. (Rimmed)

12. etc.

 

Twelve Etudes, Op. 33, despite the absence of a programmatic counterpart,
summarizes Szymanowski’s musical vocabulary and taste during his middle period.
Although Szymanowski’s early interest in tonal complexity, polyphonic structure and
intricate rhythmic interplay still remain largely in place in Op. 33, the musical
appearances are changed and updated. This new musical path resides in the exploration
and experimentation of non—traditional musical treatments in form, harmony, melody, and
rhythm derived from the Impressionistic tradition. However, Szymanowski’s unique

musical individuality expanded far beyond its influences.

38

CHAPTER III
FOLK INSPIRATIONS

Mazurkas, Op. 50, Nos. 13, 14, 15 and 16

On November 11, 1918, Poland finally reclaimed its independence after nearly
150 years of socio-political control of the partitions. The years following the rebirth of
the Polish state witnessed great changes inside Poland. The new Polish Republic “offered
a challenge to all of its citizens. It animated all spheres of public life, including musical
life.”'8 The new changes within the Polish musical circles were seen such as, the
nationalization of musical institutions, and the encouragement of compositions by young
Polish composers.

The beginning changes inside Poland also affected Szymanowski, who was living
outside of the Polish territory. During the First World War, the Szymanowski family
remained in Tyomszowka (still Ukraine territory at the time) until it was destroyed by
battles in 1918. Homeless, the Szymanowski family decided to move back to Poland
with the hope of starting a new life, and perhaps a more promising one. However,
despite the political promises of the new Polish government, Szymanowski’s personal
situation was not as satisfactory as he had hoped. With the help of old friends, concerts
for Szymanowski and his new works (from the middle period) were arranged.
Unfortunately, most of these middle period compositions were not well received. On the
one hand, they were too complex and too dissonant for general appreciation. On the

other hand, they did not fit the nationalistic theme of the new Poland. Szymanowski was

 

‘8 Jacek Rogala, Polish Music in The Twentieth Century, (Krakow: Polskie Wydawnictwo Muzyczne SA,
2000), 14.

39

emotionally torn between his life-long artistic aim of “the hierarchy of Art” and the
public acceptance of his music. The general rejection of his music, the financial crisis,
and the deterioration of his health (suffering from chronic tuberculosis and severe
depression) quickly brought him to a creative paralysis.

In 1921, he left Warsaw for a concert tour in the United States with his long-time
friends and colleagues, Artur Rubinstein and Pawel Kochanski. In the same year he met
Igor Stravinsky, and the next year Be’la Barto’k. Szymanowski’s admiration and interest
towards the music of these two composers intensified after these encounters. Perhaps it
was these two encounters that triggered the breakthrough in Szymanowski’s
compositional crisis. In the summer of 1921, he wrote an (unpublished) article on
Stravinsky, praising his ingenious “synthesis” of folkloristic inspiration and artistic
individuality. Szymanowski stated:

as Chopin once did for us, be probed in search of inspiration the
depths of his soul, inevitably finding there the genetic heritage of
the race, accumulated over generations — and, discarding the
superficial disguise of the folksy garb, found in that treasure the
priceless ore from which he forged his greatest visions.”

While Bartok and Stravinsky contributed musical and philosophical influences,
Chopin’s legacy reinforced Szymanowski’s decision to turn towards the “universality” of
Polish music. In his essay Fryderyk Chopin completed in February 1923, Szymanowski

argued:

 

19 Jim Samson quoted and footed “Teresa Chylinska, p. 196” in his The Music of Szymanowski (London:
Kahn & Averill, Stanmore Press Ltd, 1980), 156. However, this quote is not found in the same page of the
translated version of Chylinska’s Karol Szymanowski. Samson possibly took the quote from the original
Polish version.

40

Chopin recognized that only by setting his art free from the

dramatic and historical content he could ensure the preservation of

its truly Polish character and endow it with the most lasting value.

Such an approach to the question of ‘national music’ (...) elevated

his music to the category of universal art.20

During the period of 1920-1934, Szymanowski produced a series of works that
carry folkloric themes. Famous works include, the four-act opera — King Roger, Op. 64
(1918-1924); the piano solo album - Mazurkas, Op. 50 (1924—1925); the vocal orchestral
work - Stabat Mater, Op 53, (1925-1926); and the ballet Harnasie, Op. 55 (1923-1931).
Several musicologists have described the time between 1920-34 as

Szymanowski’s nationalistic period. However, the terms “nationalistic” and
“nationalism” could sometimes cause confusion. A recent study of musical nationalism
is presented by the author Thomas Turino. He noted that musical nationalism of the
twentieth-century exists in two common forms. First is the “state-sponsored musical
nationalism” such as in military music, patriotic songs and national anthems. The
second form is “the reformist fusion of local, non-cosmopolitan instruments, sounds, and
genres within a largely cosmopolitan aesthetic, stylistic, and contextual frame?”
However, in Szymanowski’s case, the line between the two categories Torino describes
was not always clear-cut. Although Szymanowski’s works from 1920-34 did not “serve”
any political regime in a direct way, they did embraced some “fashionable” political color

of the new Polish republic, such as the elevation of the people and the “folk” culture.

 

20 Karol Szymanowski, “Fryderyk Chopin” from After Chopin: Essays in Polish music, ed. Maja
Trochimczyk (Los Angeles: Polish Music Center at USC, 2000), 60-1.

2' Thomas Turino, “Nationalism and Latin American Music: Selected Case Studies and Theoretical
C onsiderations”, Latin American Music Review. 24. (2): 175.

41

Among his piano solo works of this period, Mazurkas, Op. 50 is the most
significant example. In 1926, the twenty mazurkas of Op. 50 were published in five
different volumes. Mazurkas Nos. 13-16 of volume IV, dedicated to Jaroslaw
lwaszkiewiczzz, are selected to represent Szymanowski’s personal reinterpretation and
adaptation of this “folk” genre.

To understand the musical standpoint of Szymanowski four mazurkas, it will be
helpful to first look at a brief history of the mazurka. Mazurka was originated in the
province of Mazovia around the fifteenth-century, at the “golden age” of Poland. In the
seventeenth-century, this folk dance genre began to gain a large popularity among all
social classes both inside Poland and beyond its national borders. During the tri-partition
period in the eighteenth-century, mazurka was adopted by the Russian courts as well as
the peasantry. Unlike the polonaise which was reserved only as a symbol of the
monarchial elite, the mazurka has long been received as the dance of the people from all
classes.

Mazurka is characterized by three different types of dance styles, namely, Oberek
(or obertas) - a rapid tempo danced by couples whirling in circles; mazur (or mazurka) —
less fast but lively; and kujawiak — a slower dance with music that is characterized by
long melodic phrases with a melancholy mood. The traditional mazurka musical
ensemble consists of violins, drums, harmonium(s) and Polish bagpipe. The most
distinctive characteristic of mazurka is the accented second beat or third beat in a 3/4

triple meter.23

 

22 Jaroslaw Iwaszkiewicz (1894-1980), a well-known twentieth-century Polish peot and writer, was the
Iibrettist of Szymanowski’s opera King Roger.

23 The general information for mazurkas is found under “Mazurka” written by Downes Stephen in New
Grove Dictionary of Music and Musicians, ed. Stanley Sadie. (London: Macmillan, 2002. Vol. 16), 189.

42

While many of the mazurkas are functional music to accompany the dance, others
are highly stylized and elaborate artistic creations. Above all are the mazurkas of Chopin
which were much applauded by the Parisian high society at the time of the early
nineteenth-century. Chopin’s mazurkas as well as his polonaises were, on the one hand,
his personal nostalgic response towards his homeland and the Polish pride oppressed by
the tri-partition. On the other hand, they are genuine artistic creations that demonstrate
his attachment to a Romantic bourgeoisie taste.

About one century following Chopin, Szymanowski responded to mazurkas with
a different attitude. In the genesis of the Mazurkas Op. 50, the political and musical
context as well as Szymanowski’s personal situation were rather different from those of
Chopin.

Politically, following the rebirth of the Polish Republic, Polish culture of the people, as
opposed to that of the elite, became a national theme of the new Republic. Musically, the
search for inspiration from indigenous folk culture was also one of the popular global
themes in the early part of the twentieth-century. While Stravinsky was shaking the
world with his “Rite of Spring,” Bartok and Zoltan Kodaly24 were searching for folk
samples in the heartland of the Hungarian plains. Szymanowski’s compositional
intention for these mazurkas was greatly affected by these political and musical
conditions of the time. It is perhaps why, although both the mazurka and the polonaise
were seen as national symbols, Szymanowski chose to focus on the people’s music rather

than the elite’s.

 

24 Interestingly, Szymanowski, Stravinsky and Kodaly were all born in the same year 1882. Bartok was
born one year earlier in 1881.

43

Another motivation may have been personal recognition. For a composer,
personal recognition means survival. Szymanowski’s middle-period compositions did
not please the new Republic audience. However, he was determined to retain his musical
individuality and artistic high aim. Adopting a more popular and symbolic musical genre
seemed like a possible solution for this personal crisis, but also risky for the mazurkas of
Chopin have been already highly valued. Szymanowski’s synthesis of the folk
inspirations and personal artistic style begins with these complicated conditions, and are
reflected in the music of Op. 50, Nos. 13-16.

While the folkloric sound in these four mazurkas is obvious, Szymanowski’s
adaptation of the folk sources is, however, rather free. This is evidenced in the use of the
title, the musical texture, the dance form, the thematic and harmonic structure, and the
rhythmic design.

Although he adopted the name of mazurka, Szymanowski’s mazurkas are linked
mostly to the symbolic meaning of the genre, namely, the symbol of national Polish
music. Szymanowski’s intension was to create a kind of twentieth-century national
Polish music rather than yet another type of stylized dance piece. In an interview of
1936, Szymanowski states: “Folklore has only one meaning for me, a fertilizing function.
My aim is to create a Polish style, We have at times, some ties to the Tatra folklore
in the Mazurkas, but also loose....”25 The extended interpretation of mazurka allowed
Szymanowski to “relocate” mazurka music from its birth place, the Mazowsze plains, to
the highland of the Tatra Mountains. Szymanowski’s mazurkas are inspired by the Coral

music - the music of the Tatra mountaineers.

 

25 Cited by Teresa Chylinska, Karol Szymanowski: His Life and Works (Los Angeles: University of
Southern California, 1993), 196-97.

Musically, a general folk influence is seen, at first, in the textural design of
Szymanowski’s mazurkas No. 13-16. In comparison to his earlier compositions, the
texture of these four mazurkas is generally much thinner and more linear in design.
However, no matter how much Szymanowski tried to adapt to the linear texture the folk
melodies, he retained his interest in polyphonic structure like in his earlier styles.
Examples 15-16 demonstrate, for instance, the use of thin melodic design as well as the
application of polyphony in the linear texture. (See Examples 15 and 16)

Ex. 15. Mazurkas, Op. 50, No. 13 (mm. 1-12), simple polyphonic design

Moderato

 

Ex. 16. Mazurka Op. 50, No. 15 (mm. 29-34), complex polyphonic design

poco eastern.

    

7%

c. :3:

The use of traditional dance form is also personalized in Mazurkas Nos. 13-16.

Although the general three-part dance form is retained as a basic model for the four

45

mazurkas, each mazurka is treated with stylistic individuality. Tables 9-12 provide the
detailed formal design of the four mazurkas as well as their general musical
characteristic.26

Table 9. Mazurka OQLSO. No. 13

 

 

 

 

Form Tempi & Expressions Types of mazurka applied

A Moderato Kujawiak (melancholic yet

a (mm. 1-12) profound)

b (mm. 13 — 26)

al (mm. 27 — 30)
B A tempo (agitato) - Sempre Mazur (quicker and more

c (mm. 31- 72) avvivando — Tempo I rhythmical)
AI A tempo Kujawiak

a (mm. 73 — 84)

b (mm. 85 - 98)

al (mm. 99 - 102)

 

 

 

 

 

Mazurka No. 13 demonstrates a use of compound ternary structure (“form within
form”, untypical for traditional folk dance music): Section A (as well as Section A')
consists of a small ternary structure within itself (aba‘) while remaining in the overall
ternary structure (ABA').

The “overlapping bridge” idea between Sections A and B is also unique. (see
Example 17). This idea is displayed at the beginning measures of Section B: the melodic
line continued the theme of Section Aa in the soprano, and the new accompaniment
(created by two different types of descending ostinati) anticipates the rhythmic

characteristics of the B section.

 

26 The three types of mazurkas, Kujawiak, Mazur and Oberek, are categorized by their musical
characteristics according to the information provided by the New Grove Dictionary of Music and
Musicians, ed. Stanley Sadie. (London: Macmillan, 2002. Vol. 16), 189.

46

Ex. 17. Mazurka Op. 50, No. 13 (mm. 31-34)

50 A tempo (agitato)

    

While the tempo rubato is not untypical for folk mazurkas, the fusion of different
dance types in one piece is rather an obvious artistic stylization. Its purpose is to provide
greater musical varieties. This artistic treatment was first employed in several of
Chopin’s mazurkas, and adopted favorably by Szymanowski as a stylistic norm. Notice

Nos. 15 and 16 (Tables 11-12) also applied a similar kind of technique.

Table 10. Mazurka Op, 50, No. 14

 

 

 

 

 

 

Form Tempi & Expressions Type(s) of mazurka applied
A (mm. 1-30) Animato (z elegancja i Mazur (grandiose but proud
grandezza) with no obvious frequent
B (mm. 31-45) change of tempos.)
C (mm. 46-77) A tempo
Coda + A1 (mm. 78-97) A tempo (ma piu tranquillo)

 

 

 

 

Mazurka No. 14 is the only piece that remains in one type of dance character,
namely, the mazur characterized by its distinctive rhythmic pulses and majestic profile.
The musical form of Mazurka No. 14 can be seen as quasi-ternary. This is because even
though this piece is divided into four sections by section-breaks, the reoccurring themes
from Section A, in the last section (Coda), indicate this piece is an overall ternary design.
To forge the unity of these pre-divided sections, Szymanowski uses the Theme 2 of
Section A (Example 18) as the bridging material of all sections. This theme made a total

of five different appearances in Mazurka No. 13.

47

Ex. 18. Mazurka Op. 50, No. 14 (mm. 12-15)

    

Table 11. Mazurka Op. 50. No 15

 

poco sosten.

KT“. ”1.23-—

 

 

 

 

 

 

 

Form & Sections Tempi & Expressions Type(s) of mazurka applied
A
a (mm. 1 — 8) + b Allegretto dolce - Sub. Kujawiak (sentimental and
(mm. 9 — 18) pir‘r animato lyrical)
Oberek (very quick and
rhythmical)
B (ternary)
c + (1 (mm. 19 — 28) A tempo (agitato) - Kujawiak and Oberek (the two
e + f (mm. 29 - 42) Sempre avvivando — contrasting themes are derived
c1 + (1 (mm. 43 — 60) Tempo I from Section A)
A1
a (mm. 61 — 68) + b A tempo - Poco animato Same as section A
+ codetta (mm. 69 -76)

 

Mazurka No. 15 extends the idea of thematic paring to another level, namely, the

pairing of two drastically contrasting melodic styles, or dance types, so to speak. The

first theme is characterized by the descending lyrical melody, while the second is

highlighted with the distinctive rhythmic impulses and the bagpipe drone in the

sustaining open fifth (see Example 19). Both the descending melodic shape and the

sustaining open fifths are common elements in Goral music of the Tatra hi ghlanders.27

 

27 The Grim] influences in Szymanowski’s mazurkas has been described by Maciejewski, Samson, and

Chylinska.

48

 

Ex. 19. Mazurkas, Op. 50, No. 15 (mm. 1-18)

Allegretto dolce (Naiwnr’e I sentymentalniel

   
  

3%”

   

1

v

poco rit. Sub. pit} animato

E??? "’

.5 r t 7""

Notice also in Table 11, the idea of “form in a form” applied in Mazurka No. 13 is

now adopted in Section B of No. 15. Although it seems more elaborated because of the
pairing of the contrasting ideas, it is generally a small ternary form (cbc').

Table 12. Mazurka Op. 50. No. 16

 

 

 

 

 

Form & Sections Tempi & Expressions Types of mazurka applied
A
a (mm. 1 — 15) Allegramente. Vi goroso Mazur (rhythmic, bold and
b (mm. 16 — 37) Poco piu mosso vigorous)
c (mm. 38 - 52)
B Kujawiak (sensual, lyrical and
(mm. 53 — 73) Poco meno mosso sentimental)
A1
a (mm. 74 - 88) Tempo I Mazur (same as Section A)
b(mm. 89— 111)
c (mm. 112- 119)
coda (m. 120 — 142)

 

 

 

 

The “form within form” compound structure is used again in Mazurka No. 16.
While the overall structure of Mazurka No. 16 is a typical ternary form (ABA’), the

substructure within Sections A and A1 are both through-composed (abc).

49

In comparison, the thematic and textual contrasts between Sections A and B in
No. 16 are the most distinctive among the four mazurkas. While Sections A and A1 are
characterized by the heavy rhythmic gestures (refer to Example 22) along with the two-
voice distant parallel movement (refer to Example 20), Section B provides a linear and
lyrical melodic contrast.

Another folk influence of the four mazurkas is seen in the use of modality.
Unlike Chopin’s mazurkas, modality is much favored in Szymanowski’s Op. 50, Nos. 13-
16 than traditional diatonic colors. Each of the mazurkas has at least one “preferred”
modal center. (For example, the C-flat or B Lydian/Mixolydian [0, 2, 4, 6, 7, 9, 10]28 in
Nos. 13 and 16, E-flat Pentatonic [0, 2, 4, 7, 9] in No. 14, and D Aeolian [0, 2, 4, 5, 7, 8,
10] in No. 15. These modal centers are, however, often camouflaged by the use of “tonal
saturation,” a result of polytonality or polymodality. The polytonal and polymodal
technique brings to mind the Etudes, Op. 33. Similar to Op. 33, polymodality is found in
various forms. It can be seen staggered between left and right hands creating two
melodic planes, or mixed within a melodic line. Examples 20-21 demonstrate instances
of the two different polymodal effects.

Ex. 20. Mazurka No. 14, (mm. 17-22), mlymodal layering effect*

a

 

 

 

“8 Integer notation is used as opposed to letter notation in order to limit the burden of applying ample
accidentals.

50

* The two “tonal” planes are: D-sharp minor on the left hand and E pentatonic on the
right. Double-inflections are found in this passage.

Ex. 21. Mazurka No. 16, (mm. 38-43), polymodal mixed effect*

f more. (sem re

:3-

 

* The pitch collections from D-sharp minor and D-sharp Locrian are mixed in this
passage. "Tonal saturation” effect is created.

While the modal scales are treated freely, the triple rhythm of mazurka dances is
adapted according to the composer’s own will. Szymanowski’s adaptation of the
mazurka rhythm is rather unconventional in Op. 50, Nos. 13-16. Notice the traditional
mazurka music is characterized by the accented second beat or third beat in a regular
triple meter. Chopin, on the one hand, respected this characteristic of the folk genre
while artistically stylizing its music. Szymanowski, on the other hand, created a synthetic
rhythmic impulse in his mazurkas in order to obtain a more dramatic musical effect.
Although from time to time the “true” mazurka accent is being called upon, it is in most
case overshadowed by ample irregularly placed accents (>) and tenuti (—) dominating the

music.

51

Furthermore, Szymanowski synthesized the rhythmic impulse of the Tatra
mountaineers’ music (Goral music) with the triple meter of the mazurka dance. This
musical cross-fertilization is seen the opening of Mazurka No. 16 (Example 22). The
vigorous and weighted rhythmic gestures recall some type of “field song” than dance
music. The vigorous sound of this mazurka also reminds us of the first movement
(“Bagpipe”) from Bartok’s Sonatina.

Ex. 22. Mazurka Op. 50, No. 16 (mm. 1-10)

Allegramente. Vigoroso

    

)I-

 

 

 

This cross-fertilization between two different kinds of folk sources, though
musically unique, is also distant from its original syntax, mazurka. However, one
important element from the original folk genre is preserved in Szymanowski’s mazurkas,
namely, the signature dotted rhythm ( C; r f ). This rhythmic gesture is
applied pervasively throughout the four mazurkas as if to insure the music is indeed
derived from the original folk source.

As stated by Stephen Downes, Szymanowski’s mazurkas “represent a personal

synthesis of mazurka triple meter rhythm with melodic shape derived from Goral music.

52

This is symptomatic of the change in function of the title ‘mazurka’ from its original
regional connotations to a symbol of Polish national identity.”29 However, despite the
socio-political influences or personal motivations, the artistic originality in
Szymanowski’s mazurkas is highly admirable. By synthesizing his own musical
language and folkloric inspirations, Szymanowski succeeded in bringing his national

Polish music to the international stage of the twentieth-century.

 

29 Stephen Downes, “Mazurka” The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie.
(London: Macmillan, 2002. Vol. 16), 190.

53

CONCLUSION

In the nearly forty-years of his creative life span, Szymanowski’s musical styles
experienced several drastic changes. These changes in one way or another are affected
by the artistic complexity and diversity of the first part of the twentieth-century.

His early years (around 1889-1908) depict the influences of the Romantic and late
Romantic models, both literary and musical. One important literary influence is by the
“Young Poland” poetry. The nostalgic sentimentality of the poems is reflected in
Szymanowski’s early songs and piano pieces. His pianistic writing, as demonstrated in
Four Etudes, Op. 4, bears various imprints of Chopin, early Scriabin, Brahms, and
Wagner. While remaining within the boundary of traditional forms and tonality,
Szymanowski ventured into the reservoir of the late-Romantic dramatic musical language
such as the application of thick polyphonic texture, intricate polyrhythmic display,
extreme chromaticism, as well as abundant dramatic contrasts.

During his middle-period (around 1908-1918), Szymanowski’s compositional style
witnessed a shift from the late-Romantic Austro/Germanic influences to a synthesis of
Impressionistic ingredients and personal artistic taste. This stylistic cross-fertilization is
seen in the use of less restricted forms, the exploration of unique sonorities and colors
such as polytonal syntax, as well as creative rhythmic and motivic treatments. Twelve
Etudes, Op. 33 is a clear illustration of this synthesis.

A last stylistic turning point was established around 1921, after his return to the
newly formed Second Polish Republic. The compositions of this time are motivated by

nationalistic considerations. Folk sources from Poland are adapted and rendered with

54

Szymanowski’s own personal style and color during this period, as demonstrated in
selective mazurkas of Op. 50.

Despite dramatic changes in musical appearance, Szymanowski’s artistic styles
retain certain consistencies, namely, the taste for musical complexity as well as sensual
experience. These characteristics became the hallmark of his musical language
throughout his compositions. Although Szymanowski may appear as a follower of
musical trends rather than a genuine creator, his talent in merging these influences with
his artistic individuality makes his music unique and exceptional. As Jacek Rogala
noted:

Even today, historians have trouble defining the significance of
Karol Szymanowski’s work. His greatest contribution: elevating
the standard of Polish music to European level (so important in the
early part of the century) made his outstanding creative output
seem less significant. For many it was enough to say that
Szymanowski was the first artist after Chopin who succeeded in
creating a modern national Polish style. A universally appreciated
style, placing the composer among the leading European artists of

the first half of the twentieth century.30

In the past twenty years or so, Szymanowski’s music has interested more and
more musical scholars as well as concert artists both within and beyond the Polish

country border. The International Szymanowski Piano Competition has been held every

 

30 Jacek Rogala, Polish Music in The Twentieth Century, (Krakow: Polskie Wydawnictwo Muzyczne SA,
2000), 20.

55

four years in Poland since 1981. Several of his violin works are selected as required
pieces in various international violin competitions. In addition, his music has been

recorded by an increasing amount of international artists.

56

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Publish, Inc. & The Kosciuszko Foundation, 1973.

Chylinska Teresa. Karol Szymanowski — His life and works. Translated by John
Glowacki. Los Angeles: Polish Music Center, University of Southern California, 1993.

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Downes, Stephen. “Mazurka.” The New Grove Dictionary of Music and Musicians, ed.
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Debussy, Claude. Twelve Etudes. New York: Schirmer, Inc., 1994.

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Maciejewski, B.M. Karol Szymanowski — His Life and Music. London: Poet’s and
Painter’s Press, 1967.

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Scriabin, Alexander. Sonata No. 3, 0p. 23. Scriabin Piano Sonatas, New York:
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Szymanowski, Karol. Twelve Etudes, 0p. 33. Boca Raton: Masters Music Publications,
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