Evening star., 1939-09-24

characteristics, making thus notew
only summary of events leading up
To generalize, Polish musicologis
heritage of their nation to Slavic.
origin. Whether because the Poles
have always considered themselves
superior to others of the same race
or for other reasons. most of the
available books on Polish music in
this country, published in French
by Polish writer's and used as refer
ence books by English and Spanish
readers who quote them, are vague
and evasive as regards a definite
issue which they blame on a lack of
records prior to the 10th century,
the time of Polish conversion to the
Roman Catholic faith.
According to these books, the first
interest of the nation in music is
traced to an old hymn of the 10th
century, dedicated to the Virgin,
composed by st. Adalbert of Prague,
and used by soldiers on the eve of
battles. The second oldest record
is manuscript from the pen of
Polish monks, in collaboration with
those of other nationalities, dating
back to the 18th century, kept in
the Cathedral of Gniezne. Tying up
the origin of Polish music with
religion, with its first music schools
established in converts 9th CEN
tury) and department of music
founded at the University of Cracow
in the 14th century, these musicolo-
gists voluntarily relinquished for
Poland all claims to a source of
national inspiration provided by the
rich folklore, myths. legends, fairy
tales and songs. in all of which old
Russia abounded
Greek Estimate.
However, Alexander Polinski in
his "Dzieje Musyki Polskiej," thor
ough compilation of records in
Polish. does not hesitate to quote
Prokop, Greek historian of the
9Th century, who wrote with refer
ence to Slavic tribes: "All speak the
same language and have the same
type" substantiating his supposition,
by this and other quotations, that
Polish traditions. customs and in
spiration for music in reality date
back to Slavic pagan times, when
marriage ceremonies, funerals, wor-
ship and festivities in honor of their
deity Belin were usually accom-
panied by dance and song.
He further mentions that at the
time of Boleslaw the Courageous, in
the 10th century, dance, song and
instrumental music were part of
Polish peoples life, and gives the
description of instruments used,
such as the lutte, cithara, cymbals.
horns, tympan and variety of
pipes. Towards the close of the
18th century symbolical plays per-
sonifying joy, sorrow, liberty, JUS
tice, ETC., are being held in Cracow
in commemoration of Kazimir the
Just. These performances are ac-
companied by ensembles in which
the use of brass tubas, tambourines
and flutes is mentioned for the first
time. Similar forms of entertain
ment are recorded in the 18th CEN
tury: mystical plays and orchestral
Library Famous.
Not much progress is noted be-
tween the 14th and 18th centuries,
and although this theory is intro
duced at the University of Cracow
for the purpose of developing COM
position, this subject is unpopular
and is considered tedious "arith-
metic." It is not until the estab-
lishment of the famous Koran
tistes" chapel in 1543 for only
those Of Polish BIRTH that the mu-
sical development of the country
is beginning to make big strides
forward.
This Polish "Sistine," founded at
the Wewel Cathedral in Cracow
by Sigismund the Old (the First),
became world famous for it's Ii
brary and a unique collection of
Polish, Italian and Dutch master
pieces of the 18th and 18th centuries.
The King retained a musical direc-
tor and nine singers, inviting IA
nous musicians and teachers of
other countries to settle in Poland.
Among these was Nicholas of Cra-
COW, mentioned in the annals of
the Cracow University in 1888 as
the first of long and uninterrupt-
ed line of musicians who brought
the music of Poland to its present
standards of excellence.
The outset of the 10th century,
with Warsaw as capital and lead
ing cultural center, marks the be-
ginning of Poland's golden era in
music, the "Sigismund's" era Sig
ismund maintained orchestras at his
court and was the first King to de-
cree the organization of mu-
sicians' union in Poland 1t was
during his reign that a description
of a Polish violin appears in Ger
man annals, with an appreciation of
Its qualities.
About that time the expression of
the Polish national spirit finds its
outlet in various dance forms which
were to play ultimately such an i'm
portant part in the formation of ma
tional music, exercise an influence
upon native composers and the world
in general. The first publication of
Polish dances appears in 1902, when
Valentin Haussman, German nf,l-
sician, collects more than one hun
dred and appends the description of
the steps. Those in "A time and in
2/4 time are the oldest; the "Kra-
kowiak," originated in Cracow; the
"Polka," which became the national
dance Of the Czechs. and the VAR
soviana," originated in Warsaw. But
1t is the "Polonaise,"' with its first
social success during the coronation
festivities of Henri d'Anjou in 1874,
crowned as Polish king, and the
"Mazur" that have been closely iden-
titled with the Polish creative genius
through the centuries.
Polish Spirit Stressed.