New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-06-10
Political Evils Now Said to
Obscure the National
Genius
Long Leaders in Song.
Gave Chopin and Many Other
Noted Composers of Opera
and Dance Tunes
BY J. s.

THERE can be no doubt whatever
that one of the immediate conse-
quences Of this war will be the resur-
rection, under some shape, Of Poland
as q state and Of the three-parted ma
ton with its exiles spread over the en-
tire globe-about 100000 in this coun-
try alone-as an integral, separate "a
cial unit.
All apparent signs to the contrary
notwithstanding, we are fast approach
ing the last bloody chapter Of the san
culinary novel which has been prepared
in Joint authorship by William ii and
his tragico-comical heir-apparent, Fritz
L. Petit. 1t seems, therefore, timely
TO take account not only of the politico-
economical but also Of the cultural as
sets of the Slavic knight-errant among
the nations. The recent death of Ed
Guard de Reszke is responsible for be-
ginning the stocktaking with the must
cal item.
We said stocktaking, and not eulogy,
and this will explain why we start with
the statement that, with the exception
of Frederic Chopin born near War
saw. in 1910: died at Paris in 1S4s)
Poland failed TO produce one single
musical genius Of the first order. me
same is true of the fine arts, which dld
not assume a genuine Polish natohal
character before the second half OF the
nineteenth century, the previous epochs
Welding successfully TO French, Italian
and German influences. And who can
denv that many of the Polish compos-
ers and virtuosi who have lived IN Ger
many for the last half a century are IN
their artistic makeup and incllnatlons
more Teutonic than SLAVIC!
Muted by Political Fate
Il is by no means lack of racial mu-
steal renius-the Slavs more than any
other race are a sentimental, nervous,
music-loving tribe-but mainly the po-
Ttical fate which hung over the poor
Poles for the last two or three centuries
which is responsible for the relatively
insignificant creative contribution made
bv them TO the history of music.
The emotions of the Slav peasant IN
general. and of the Polish in partlcu-
lar. find their main outlets In folksongs
and primitive dance tunes. The best
and most popular Russian songs are
the slow melodies which are IN minor
KEYS and sung in harmony, while the
Polish national music is more fiery and
passionate. rendered effective by means
of strong accentuation and pronounced
rhythm.
The polonaise, mazurka and craco-
vienne are the most popular Pollsh
dances. but none Of them knew how TO
preserve their racy originality:
The old polonaise. TO quote the words.
Of List. was without rapid movement,
without real steps in the true sense OF
the word, being more intended for pro
cessional display and pompousness than
| for the exhibition of seductive grace.
Its birthyear. in all probability, - l54,
and its birthplace the royal palace AT
7 Cracow. witnessing the festivities given
by the Polish nobility at the occasion
Of the coronation Of Henri Ill OF AnJou:
While the polonaise IS a portrayal
/ Of manly ardor and national PRIDE, the
mazurka represents the tenderness ana
deHcacy of the female emotion, charac-
tcristic of the Pole as individual: II IS
a mingling Of Joy and pain, OF vanity
and passion. =,
The cracovienne is danced usually
with vocal accompaniment Ere II be
Gins. one couple steps in front Of the
hand and sings the KrakOwiak song,
composed Of two stanzas. The other
couples ioin the first The rhythm ls
indicated bv firmly striking one heel
against the other. The rather melan-
cholv music is somewhat relieved by the
playful movements Of the dancers
Chopin Supplied the Nerve
II was Chopin who infused these
three primitive national dances with
the poetical fire and artistic veve
which made Of them the favorites at
the royal and imperial courts of Eu-
rope. as well as in the bathrooms OF
the bourgeoisie and on the dancing
floors of the people.
Chopin himself is indebted in some
degree to his predecessors, 70 the Pales-
trina of the North, the famous creator
Of the Polish national part-muslc, Mich
olas Gomolka (1539l6O9); to Count
Michael Cleophas OginsN (born near
Warsaw 1865; died in Florence, Italy,
in 1889, author Of several polonalses
and French and Italian romances; to
Albert Sohwinsk, a Ukrainian (born
in 1903: died at Paris. 1880, friend Of
Hummel and author of oratorios and
symphonies, and finally, TO his imme-
date teacher, Joseph Elsner (l769-
1850.
We ftly close this bird's-eye view
Of the development of Polish music by
mentioning some Of the illustrious con-
temporaries and successors of the cen
trail figure Of Poland's musical Hall Of
Fame: Karl Casimir Kurpinski (17S5-
1S5D director of the Warsaw Opera
and best known as the composer of the
national opera "Jadwiga"; Carl Joseph
LipinsN born in Russian Poland in
1893: died in Dresden 186D, one Of the
greatest violinists Of the nineteenth
century. admired by Paganini, who ap-
peared with him in some Of his con-
certs; the pianist and composer An
tonne de KOntski (lS17-lS9S). and his
brother, Apollinaire (1825-lS79D; the
violin virtuoso Stanslas Monuszko
Gg1o-1s72), best known as the author
~ the national opera, "Halka"; finally,
the pianist-composers lgnatz Jean
Paderewski (born 1859 at Kurilowka)
and Leopold Godowsh (born 1870.
Polish Opera in 1924
The first Polish opera house was built
in Warsaw in 1924, during the reign OF
Augustus Of Saxony; IL was closed on
Inc death Of Augustus III and reopened
two wears later. IN 1865. The first Pol
isb opera, "Miscry Made Happy in
two acts. by Matthew Kamienski, was
produced May II, l718.
Tho recent movement of the Young
School. !" represented by men such as the
recently deceased Karlowicz, Fittelberg,
Mclcer. Rozych and Szymanowski,
blends classicism and romanticism with
Inc musical cubism Of Richard Strauss.
Z, -. M T,rn rdnrve kin-fhe Pol