As suggested by musicologist Adolf Chybiński in Szymanowski a Podhale “We can understand that what made Karol Szymanowski excited about the music and dance of Highlanders was its primitiveness and directness.”1 These characteristics were very important to Szymanowski, however, not everyone had the same view on them. The simplicity of Podhale folk aroused controversy and was not well appreciated by some in Poland at the time. Szymanowski reacted to it in an article O muzyce góralskiej which was finished on 12th January 1924 and published in the Warsaw magazine “Pani” in 1924 :
First of all, I would like to protest categorically against the legend of their (the highlanders') "unmusicalness" created - I assume - by the first newcomers from the lowlands, terrified to the depths of their soul by the shouting (literally) from mountain to mountain and from hall to hall of the songs of the shepherds. Of course, this method of singing has nothing in common with the frothy bel canto of the Venetian gondoliers. However, is it possible to speak of the unmusicality of a people who, apart from the immeasurable richness of their songs, sometimes enchanting with their unusual, whimsical melodies, were the only ones in Poland (and perhaps even elsewhere!) to create ensemble and instrumental music, based on an original harmonic and rhythmic system? (..)2
The use of materials from folk music by classical composers gradually increased in the late 19th century. In Poland a big part of this involved traditional dances like the polonaise, mazur and kujawiak. In the 19th century some musicians made use of rhythmic patterns or melodies from those dance forms in their works. The two most important composers of the time to do so in Poland were Henryk Wieniawski (1835- 1880) and Fryderyk Chopin (1810- 1849). One such example is Wieniawski’s Polonaise for violin and piano in D Major op.4, and Chopin’s Mazurka in a minor op.68 no. 2. (examples on the right)
The idea of using folk melodies in the classical pieces became a prominent part of Chopin’s oeuvre. His works were often full of material inspired by Polish folk traditions. Polish melodies, rhythmic patterns and dances all became part of his works. Chopin had contact with folk music since his childhood. In his pieces he wanted to show folklore as realistic as possible. The difference between his work and that of Szymanowski is that firstly, the aesthetics of music in the 19th and 20th century were different, and secondly Chopin was mostly inspired by folk music from the Mazowsze region which differs widely from the Podhale folklore that Szymanowski used. The first and most important difference is the Podhale’s own repertoire of melodies and dance which are more similar to Slovakian or Hungarian folklore rather than to the Polish one. Mazowsze folklore is characterised by triple meter and the clear presence of mazurka rhythm - fast or very fast tempo. Next to that the main instrument is the violin accompanied by a bass or a drum, not like on Podhale where the band mostly consists of two or three violins and the bass.3 This topic will be continued in the chapter 1a) Podhale region - Folk music and Gorals.
As discussed above, from the end of the 19th century nationalism became increasingly important in Europe and it arguably set the scene for major wars between ethnic groups on the European continent. This gave new impetus to composers who turned to folk music for inspiration. In Poland numerous composers other than Chopin and Wieniawski wrote music inspired by folklore such as Władysław Żeleński (1837 - 1921) or Zygmunt Noskowski (1846 - 1909). These two, unlike Chopin nor Wieniawski, were specifically interested in the music and the landscape of the mountains of Tatry. Later in their compositional careers both composers were the first in Poland that adapted melodies from Podhale folk songs and made use of them in their compositions. This resulted in idealistic versions of folk music that became detached from their original musical contexts as can be heard in Goral Fantasy written by Noskowski. (example on the right) This especially displeased Szymanowski. He felt that composers were using melodies but were ignorant of Highland culture.
Not Podhale (the region) but Tatry (mountains) were interesting for them (the composers) in the first place. Tatry, as beautiful views of nature, which gives strong impressions(...) Only second in line was folk music of Podhale, and only when it was possible to find something “characteristic” or “beautiful”, which could be used in that or other way in artistic music, melodies distilled from villagers' life and probably not even close to their interpretation. Avoiding everything that is primitive so then “botched,” not useful for the “art”, even if it contains the most peculiar, different, fundamental, typical characteristics. 4
Szymanowski strongly believed that a composer could not write pieces about folk music if they did not get to know the place of its origin and the people that played the music. “In any case this music (Goral) you need to hear while drinking with Gorals* to understand what it is about(...).”5
What I would like to demonstrate with this research is both the uniqueness of Polish Podhale folk music and the special way Szymanowski used it in his violin works. This knowledge will then be used to inform my performances of Harnasie and other violin works by Szymanowski. To do this I have formulated the following research question: How can knowledge of Podhale folklore and Szymanowski’s compositional style inform the performance of Harnasie and other pieces for violin from his nationalistic period?
To answer this question I have researched the background of the Podhale music, culture and people. I go on to present a biographical sketch of Szymanowski. I then discuss the so-called ‘Nationalistic period’ of Szymanowski’s work, and the factors that made him so interested in Podhale folklore. Here I discuss the history of the ballet Harnasie which is without any doubt the most important and spectacular piece in Szymanowski’s folk compositional style, as well as the transcription of the piece for violin and piano made by his good friend and violinist Paweł Kochański. I also touch on a few other works by Szymanowski such as his Mazurkas for piano, parts of his String Quartet no.2 and the Violin Concerto no.2.
By comparing the two versions of Harnasie my aim is to find out what musical choices were made, which parts of the ballet were left out of the violin version, which melodies stayed, by which instrument they are played in the orchestral score and how all of this might influence a violinist’s interpretation of the piece. Moreover, the goal is to explore the folk melodies hidden in the notation and to determine whether the materials are inspired by folk traditions or actual transcriptions of folk melodies. The central goal of my research is to discover how knowledge of Podhale folk traditions, and of Szymanowski’s compositional relationship to these traditions might impact performances of the work. Also how the friendship with Paweł Kochański influenced the violin works written by the composer. This part is quite significant, therefore it deserves a subsection in the third chapter which is focused on Paweł Kochański’s performance style.
I will explore these topics through literature review - reading various books, research papers and articles, analysing the scores of the ballet Harnasie and the transcription for violin and piano, listening to the music including the original folk melodies and Szymanowski’s pieces. Last but not least I will practice Harnasie myself. Last academic year I had a chance to perform Harnasie for violin and piano without a deep understanding of the piece. Now, I would like to see how deeper knowledge gained through research can impact my performances which I am going to discuss in chapter 3d) Approaching Harnasie and other violin pieces by Szymanowski.
1. Introduction
Folk music has been present since early human history. The origins of many of today’s musical practises can be found in traditional folk music. The topic itself is very broad, and in Poland alone, one can find several different musical cultures, each with their own traditions. In my research I am going to focus on the culture and folklore of the Podhale region, which is crucial for understanding Karol Szymanowski’s (1882 - 1937) music.
The topic I chose is close to me for several reasons. Since I was a child, I have heard Szymanowski’s music all around me, as well as Polish folk songs. When I came to the Netherlands to study I noticed that many people are unfamiliar with this beloved Polish composer. I started performing Szymanowski’s pieces here, and received frequent feedback from listeners about how stunning his music is. Then, I realised that playing and understanding his music more deeply could really benefit me as a musician. A big part of Szymanowski’s oeuvre is linked to Polish folklore, and specifically Podhale folklore. That is why I am going to focus on that specific tradition in this research to understand its connection to Szymanowski’s work. I strongly believe that all the information that I have collected through the research has informed my playing of Szymanowski’s violin music. Especially, the music from his Nationalistic period. I would also like to reveal more about the rich nature of Polish folk traditions. Moreover, I would like to be able to share this repertoire with an international audience.
What factors make Podhale folklore so special? First of all, I would say accessibility for the masses. To participate in music making or dancing, you do not have to be a skilled and trained musician. Many people who play folk music are amateurs, they play the music because they know it and enjoy it. Music is in their blood and bones. No one has to pay to listen, even nowadays it is played outside, in houses, cafes or restaurants. One can say it became a bit commercial, as it can be heard on every street corner and in every restaurant in Zakopane (the main city in the Highland region). On the other hand this is how the oral tradition is kept alive and shared with (international) visitors.
This is very different from classical concerts which, especially before the 19th century, were often the purview of the wealthy and the aristocratic. Moreover, playing folk Highlanders music doesn’t require high technical and musical skills. Most of the time melodies are constructed quite simply, without unnecessary complications. Therefore, everyone can join in singing, dancing, and playing along.
Example 2. Mazurka in a minor op. 68 no. 2
Example 3. Zygmunt Noskowski - Goral Fantasy
Example 1. Polonaise brillante in D Major op.4
