1.
Poland
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Poland, officially the Republic of Poland, is a country in Central Europe, situated between the Baltic Sea in the north and two mountain ranges in the south. Bordered by Germany to the west, the Czech Republic and Slovakia to the south, Ukraine and Belarus to the east, the total area of Poland is 312,679 square kilometres, making it the 69th largest country in the world and the 9th largest in Europe. With a population of over 38.5 million people, Poland is the 34th most populous country in the world, the 8th most populous country in Europe, Poland is a unitary state divided into 16 administrative subdivisions, and its capital and largest city is Warsaw. Other metropolises include Kraków, Wrocław, Poznań, Gdańsk and Szczecin, the establishment of a Polish state can be traced back to 966, when Mieszko I, ruler of a territory roughly coextensive with that of present-day Poland, converted to Christianity. The Kingdom of Poland was founded in 1025, and in 1569 it cemented a political association with the Grand Duchy of Lithuania by signing the Union of Lublin. This union formed the Polish–Lithuanian Commonwealth, one of the largest and most populous countries of 16th and 17th century Europe, Poland regained its independence in 1918 at the end of World War I, reconstituting much of its historical territory as the Second Polish Republic. In September 1939, World War II started with the invasion of Poland by Nazi Germany, followed thereafter by invasion by the Soviet Union. More than six million Polish citizens died in the war, after the war, Polands borders were shifted westwards under the terms of the Potsdam Conference. With the backing of the Soviet Union, a communist puppet government was formed, and after a referendum in 1946. During the Revolutions of 1989 Polands Communist government was overthrown and Poland adopted a new constitution establishing itself as a democracy, informally called the Third Polish Republic. Since the early 1990s, when the transition to a primarily market-based economy began, Poland has achieved a high ranking on the Human Development Index. Poland is a country, which was categorised by the World Bank as having a high-income economy. Furthermore, it is visited by approximately 16 million tourists every year, Poland is the eighth largest economy in the European Union and was the 6th fastest growing economy on the continent between 2010 and 2015. According to the Global Peace Index for 2014, Poland is ranked 19th in the list of the safest countries in the world to live in. The origin of the name Poland derives from a West Slavic tribe of Polans that inhabited the Warta River basin of the historic Greater Poland region in the 8th century, the origin of the name Polanie itself derives from the western Slavic word pole. In some foreign languages such as Hungarian, Lithuanian, Persian and Turkish the exonym for Poland is Lechites, historians have postulated that throughout Late Antiquity, many distinct ethnic groups populated the regions of what is now Poland. The most famous archaeological find from the prehistory and protohistory of Poland is the Biskupin fortified settlement, dating from the Lusatian culture of the early Iron Age, the Slavic groups who would form Poland migrated to these areas in the second half of the 5th century AD. With the Baptism of Poland the Polish rulers accepted Christianity and the authority of the Roman Church
2.
Classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
3.
Krzysztof Penderecki
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Krzysztof Eugeniusz Penderecki is a Polish composer and conductor. The Guardian has called him Polands greatest living composer, among his best known works are his Threnody to the Victims of Hiroshima, St. Born in Dębica to a lawyer, Penderecki studied music at Jagiellonian University, after graduating from the Academy of Music, Penderecki became a teacher at the academy and he began his career as a composer in 1959 during the Warsaw Autumn festival. His Threnody to the Victims of Hiroshima for string orchestra and the choral work St. Luke Passion, have received popular acclaim and his first opera, The Devils of Loudun, was not immediately successful. Beginning in the mid-1970s, Pendereckis composing style changed, with his first violin concerto focusing on the semitone and his choral work Polish Requiem was written in the 1980s, with Penderecki expanding it in 1993 and 2005. Penderecki was born in Dębica, to Tadeusz Penderecki, a lawyer and his grandmother was an Armenian from Isfahan, Iran. Penderecki used to go to Armenian Church in Kraków with her, Penderecki was the youngest of three siblings, his sister, Barbara, was married to a mining engineer, and his older brother, Janusz, was studying law and medicine at the time of his birth. Tadeusz was a violinist and also played piano, in 1939, the Second World War broke out, and Pendereckis family moved out of their apartment as the Ministry of Food was to operate there. After the war, Penderecki began attending school in 1946. He began studying the violin under Stanisław Darłak, Dębicas military bandmaster who organized an orchestra for the music society after the war. Upon graduating from school, Penderecki moved to Kraków in 1951. He studied violin with Stanisław Tawroszewicz and music theory with Franciszek Skołyszewski, in 1954, Penderecki entered the Academy of Music in Kraków and, having finished his studies on violin after his first year, focused entirely on composition. Pendereckis main teacher there was Artur Malawski, a known for his choral works and orchestral works, as well as chamber music. After Malawskis death in 1957, Penderecki took further lessons with Stanisław Wiechowicz, at the time, the 1956 overthrow of Stalinism in Poland lifted strict Communist cultural censorship and opened the door to a wave of creativity. On graduating from the Academy of Music in Kraków in 1958 and his early works show the influence of Anton Webern and Pierre Boulez. In it, he use of extended instrumental techniques. There are many novel textures in the work, which makes use of tone clusters. He originally titled the work 837, but decided to dedicate it to the victims of Hiroshima, the piece was composed for the Donaueschingen Festival of contemporary music of 1962, and its performance was regarded as provocative and controversial
4.
Karol Szymanowski
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Karol Maciej Szymanowski was a Polish composer and pianist, the most celebrated Polish composer of the early 20th century. He is considered a member of the late 19th-/early 20th-century modernist movement Young Poland. The early works show the influence of the late Romantic German school as well as the works of Alexander Scriabin, as exemplified by his Étude Op.4 No.3. Later, he developed an impressionistic and partially atonal style, represented by works as the Third Symphony. His third period was influenced by the music of the Polish Górale people, including the ballet Harnasie, the Fourth Symphony. King Roger, composed between 1918-1924, remains the most popular opera by Szymanowski, Szymanowski was born into the Korwin-Szymanowski family, members of the wealthy land-owning Polish gentry class, in the village of Tymoszówka, then in the Kiev Governorate of the Russian Empire. He studied music privately with his father before enrolling at the Gustav Neuhaus Elisavetgrad School of Music in 1892, from 1901 he attended the State Conservatory in Warsaw, of which he was later director from 1926 until retiring in 1930. Since musical opportunities in Russian-occupied Poland were quite limited, he travelled throughout Europe, North Africa, the Middle East, being lame in one knee made him unsuitable for military service in World War I. In 1918, Szymanowski completed the manuscript of a novel, Efebos. His travels, especially those to the Mediterranean area, provided him with new experience, after his return he raved about Sicily, especially Taormina. There, he said, I saw a few young men bathing who could be models for Antinous, I couldnt take my eyes off them. Now he was a confirmed homosexual and he told me all this with burning eyes. Szymanowski settled in Warsaw in 1919, in 1926 he accepted the position of Director of the Warsaw Conservatory though he had little administrative experience. He became seriously ill in 1928 and temporarily lost his post and he was diagnosed with an acute form of tuberculosis, and in 1929 traveled to Davos, Switzerland, for medical treatment. Szymanowski resumed his position at the Conservatory in 1930, but the school was closed two years later by a ministerial decision and he moved to Villa Atma in Zakopane where he composed fervently. In 1936 Szymanowski received more treatment at a sanatorium in Grasse and he died at a sanatorium in Lausanne on 29 March 1937. His body was brought back to Poland by his sister Stanisława and laid to rest at Skałka in Kraków, Szymanowskis long correspondence with the pianist Jan Smeterlin, who was a significant champion of his piano works, was published in 1969. Szymanowski was influenced by the music of Richard Wagner, Richard Strauss, Max Reger, Alexander Scriabin and the impressionism of Claude Debussy and he also drew much influence from his countryman Frédéric Chopin and from Polish folk music
5.
Arthur Rubinstein
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Arthur Rubinstein was a Polish American classical pianist. He received international acclaim for his performances of the written by a variety of composers. He was described by The New York Times as one of the greatest pianists of the twentieth century and he played in public for eight decades. Rubinstein was born in Łódź, Congress Poland on January 28,1887 and he was the youngest of seven children of Felicja Blima Fajga and Izaak Rubinstein. His father owned a textile factory. Rubinsteins birth name was to be Leo, but his brother claimed that His name must be Artur. Since Artur X plays the violin so nicely, the baby may also become a great musician, and so he was called Artur, although in English-speaking countries, he preferred to be known as Arthur Rubinstein. His United States impresario Sol Hurok, however, insisted he be billed as Artur, at age two, Rubinstein demonstrated perfect pitch and a fascination with the piano, watching his elder sisters piano lessons. By the age of four, he was recognised as a child prodigy and his father had a predilection for the violin and offered Rubinstein a violin, but Rubinstein rejected it because he thought his instinct was for harmony and polyphony. When the time comes for serious study, bring him to me, on December 14,1894, seven-year-old Arthur Rubinstein had his debut with pieces by Mozart, Schubert and Mendelssohn. When he became ten years of age, Rubinstein moved to Berlin to continue his studies, joseph Joachim recommended Karl Heinrich Barth as the boys piano teacher. As a student of Barth, Rubinstein inherited a renowned pedagogical lineage, Barth was himself a pupil of Liszt, who had been taught by Czerny, who had in turn been a pupil of Beethoven. In 1904, Rubinstein moved to Paris to launch his career in earnest, where he met the composers Maurice Ravel and Paul Dukas and he also played Camille Saint-Saëns Piano Concerto No.2 in the presence of the composer. Through the family of Juliusz Wertheim he formed friendships with the violinist Paul Kochanski, Rubinstein made his New York debut at Carnegie Hall in 1906, and thereafter toured the United States, Austria, Italy, and Russia. According to his own testimony and that of his son in François Reichenbachs film LAmour de la vie, by 1908, Rubinstein, destitute and desperate, hounded by creditors, and threatened with being evicted from his Berlin hotel room, made a failed attempt to hang himself. Subsequently, he said that he felt reborn and endowed with a love of life. During World War I, Rubinstein stayed in London, giving recitals, in 1916 and 1917, he made his first tours in Spain and South America where he was wildly acclaimed. It was during those tours that he developed an enthusiasm for the music of Enrique Granados, Isaac Albéniz, Manuel de Falla
6.
Ignacy Jan Paderewski
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Ignacy Jan Paderewski, GBE was a Polish pianist and composer, politician and spokesman for Polish independence. He was a favorite of audiences around the world. His musical fame opened access to diplomacy and the media and he was the prime minister of Poland and also Polands foreign minister in 1919, and represented Poland at the Paris Peace Conference in 1919. He served 10 months as prime minister, and soon thereafter left Poland, Paderewski was born to Polish parents in the village of Kuryłówka, Litin uyezd in the Podolia Governorate of the Russian Empire. The village today is part of the Khmilnyk raion of Vinnytsia Oblast in Ukraine and his father, Jan Paderewski, was an administrator of large estates. His mother, Poliksena, née Nowicka, died months after Paderewski was born. From his early childhood, Paderewski was interested in music while living at the estate near Żytomir. However, soon after his fathers arrest in connection with the January Uprising, after being released, Paderewskis father married again and moved to the town of Sudylkov, near Shepetovka. Initially, he took lessons with a private tutor. At the age of 12, in 1872, he went to Warsaw and was admitted to the Warsaw Conservatory, after graduating in 1878, he was asked to become a tutor of piano classes at his alma mater, a position he accepted. In 1880, Paderewski married a student at the conservatory Antonina Korsakówna. The following year, their son was born handicapped, Antonina never recovered from childbirth. Paderewski decided to devote himself to music, he left his son in the care of friends, a chance meeting in 1884 with a famous Polish actress, Helena Modrzejewska, set him on a course of a career as a virtuoso pianist. Modrzejewska arranged for a concert and appearance together in Krakóws hotel Saski to raise funds for Paderewskis further piano study. The scheme was a success and he moved to Vienna. After three years of diligent study and an appointment in Strasbourg arranged for by Leschetizky, Paderewski made his concert debut in Vienna in 1887. He soon gained popularity and his subsequent appearances were major successes. His brilliant playing created a furor that reached to almost extravagant lengths of admiration, a large part of his great success stemmed from his stage presence and his striking looks
7.
Krystian Zimerman
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Krystian Zimerman is a Polish virtuoso pianist who has been hailed as one of the finest living pianists. Zimerman was born in Zabrze, Poland, and studied at the Karol Szymanowski Academy of Music in Katowice under Andrzej Jasiński and his career was launched when he won the 1975 Warsaw International Chopin Piano Competition. He performed with the Berlin Philharmonic conducted by Herbert Blomstedt in 1976 and he has toured widely and made a number of recordings. Since 1996, he has taught piano at the Academy of Music in Basel, in 1999, Zimerman created the Polish Festival Orchestra to commemorate the 150th anniversary of Chopins death. Zimerman is best known for his interpretations of Romantic music, but has performed a variety of classical pieces as well. He has also been a supporter of contemporary music, for example, Witold Lutosławski wrote his piano concerto for Zimerman, who later recorded it on two occasions. In 2006, Zimerman recorded Brahms Piano Concerto No.1 with the Berlin Philharmonic conducted by Sir Simon Rattle and he had made a similar comment in 2006, stating he would not return until George W. Bush was out of office. Part of his disenchantment with the USA may be that with the stepped up militarization and security at US airports, in incidents in 2001 and 2006, one of his Steinway pianos was completely destroyed and another one damaged by security staff at New Yorks JFK airport. Zimerman lives with his wife and two children in Basel, Switzerland, where he has spent the part of his life. He divides his time between family, concerts, and performances of chamber music, most of Zimermans recordings have been released by Deutsche Grammophon, with which he has an exclusive lifelong contract
8.
Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
9.
Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre
10.
Folk dance
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Folk dances are dances that are developed by people that reflect the life of the people of a certain country or region. Not all ethnic dances are folk dances, for example, ritual dances or dances of ritual origin are not considered to be folk dances, ritual dances are usually called Religious dances because of their purpose. The terms ethnic and traditional are used when it is required to emphasize the roots of the dance. In this sense, nearly all folk dances are ethnic ones, if some dances, such as polka, cross ethnic boundaries and even cross the boundary between folk and ballroom dance, ethnic differences are often considerable enough to mention, e. g. Czech polka vs. Dances not generally designed for performance or the stage, though they may later be arranged. Execution dominated by a tradition from various international cultures rather than innovation. New dancers often learn informally by observing others and/or receiving help from others, more controversially, some people define folk dancing as dancing for which there is no governing body or dancing for which there are no competitive or professional institutions. The term folk dance is sometimes applied to dances of historical importance in European culture and history, for other cultures the terms ethnic dance or traditional dance are sometimes used, although the latter terms may encompass ceremonial dances. A number of modern ballroom dances originated from folk ones, varieties of European folk dances include, Sword dances include Longsword dances and rapper dancing. Some choreographed dances such as dance, Scottish country dance. Country dance overlaps with contemporary dance and ballroom dance. Most country dances and ballroom dances originated from folk dances, with gradual refinement over the years, people familiar with folk dancing can often determine what country a dance is from even if they have not seen that particular dance before. Some countries dances have features that are unique to that country, for example, the German and Austrian schuhplattling dance consists of slapping the body and shoes in a fixed pattern, a feature that few other countries dances have. Folk dances sometimes evolved long before current political boundaries, so that certain dances are shared by several countries, for example, some Serbian, Bulgarian, and Croatian dances share the same or similar dances, and sometimes even use the same name and music for those dances. International folk dance groups exist in cities and college campuses in many countries, in which dancers learn folk dances from many cultures for recreation
11.
Mazurka
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The mazurka is a Polish folk dance in triple meter, usually at a lively tempo, and with strong accents unsystematically placed on the second or third beat. The folk origins of the mazurek are two other Polish musical forms which are the slow kujawiak, and the fast oberek, the mazurek is always found to have either a triplet, trill, dotted eighth note pair, or an ordinary eighth note pair before two quarter notes. In the 19th century, the dance became popular in many ballrooms in different parts of Europe, the Polish national anthem has a mazurek rhythm but is too slow to be considered a mazurek. In Polish, mazurka is actually the genitive and accusative cases of mazurek, several classical composers have written mazurkas, with the best known being the 69 composed by Frédéric Chopin for solo piano. In 1825 Maria Szymanowska wrote the largest collection of piano mazurkas published before Chopin, Chopin first started composing mazurkas in 1825, but his composing did not become serious until 1830, the year of the November Uprising, a Polish rebellion against the Russian Tsar. Chopin continued composing them until 1849, the year of his death, the stylistic and musical characteristics of Chopins mazurkas differ from the traditional variety because Chopin in effect created a completely separate and new genre of mazurka all his own. For example, he used techniques in his mazurkas, including counterpoint. By including more chromaticism and harmony in the mazurkas, he made them more interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, however, while Chopin changed some aspects of the original mazurka, he maintained others. His mazurkas, like the traditional dances, contain a great deal of repetition, repetition of certain measures or groups of measures, of entire sections, the rhythm of his mazurkas also remains very similar to that of earlier mazurkas. This use of rhythm suggests that Chopin tried to create a genre that had ties to the original form, the dance was common as a popular dance in Europe and the United States in the mid- to late nineteenth century. In Cape Verde the mazurka is also revered as an important cultural phenomenon played with bands led by a violinist. It also takes a variation of the dance form and is found mostly in the north of the archipelago, mainly in São Nicolau. In the south it finds popularity in the island of Brava, czech composers Bedřich Smetana, Antonín Dvořák, and Bohuslav Martinů all wrote mazurkas to at least some extent. For Smetana and Martinů, these are single pieces, whereas Dvořák composed a set of six mazurkas for piano, and in 1991 Albert Hyden performed a sonet for the president called alpha Q. In France, Impressionistic composers Claude Debussy and Maurice Ravel both wrote mazurkas, Debussys is a piece, and Ravels is part of a suite of an early work. Jacques Offenbach included a mazurka in his ballet Gaîté Parisienne, Léo Delibes composed one which appears several times in the first act of his ballet Coppélia, the mazurka appears frequently in French traditional folk music. In the French Antilles, the mazurka has become an important style of dance, a creolised version of the mazurka is mazouk, which was introduced to the French Caribbean during the 19th century
12.
Polonaise
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The polonaise is a dance of Polish origin, in 34 time. Its name is French for Polish, the polonaise had a rhythm quite close to that of the Swedish semiquaver or sixteenth-note polska, and the two dances have a common origin. Polonaise is a dance in carnival parties. Polonaise is always a first dance at a studniówka, the Polish equivalent of the prom that occurs approximately 100 days before exams. The notation alla polacca on a score indicates that the piece should be played with the rhythm. For example, the movement of Beethovens Triple Concerto op. 56, marked Rondo alla polacca, and the finale of Chopins Variations on Là ci darem la mano both feature this notation, frédéric Chopins polonaises are generally the best known of all polonaises in classical music. Another more recent prolific polonaise composer was the American Edward Alexander MacDowell, john Philip Sousa wrote the Presidential Polonaise, intended to keep visitors moving briskly through the White House receiving line. Sousa wrote it in 1886 at the request of President Chester A. Arthur who died before it was performed, Polonaise is a Polish dance and is one of the five historic national dances of Poland. The others are the Mazurka, Kujawiak, Krakowiak and Oberek, Polonaise originated as a peasant dance known under various names – chodzony, chmielowy, pieszy or wielki, recorded as early as the 15th century. In later centuries it gained popularity among the nobility and townspeople, waltz Mazurka Varsovienne Redowa Polonaise ‒ The Royal Dance Every Polish Teenager Has to Master
13.
Krakowiak
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The Krakowiak is a fast, syncopated Polish dance in duple time from the region of Kraków and Little Poland. The first printed Krakowiak appeared in Franciszek Mireckis album for the piano, frédéric Chopin produced a bravura concert krakowiak in his Grand Rondeau de Concert, Rondo à la Krakowiak in F major for piano and orchestra. The last movement of his first piano concerto also draws heavily on the dance, in terms of its choreography, the krakowiak is set for several couples, among whom the leading male dancer sings and indicates the steps. According to the description in the New Grove Dictionary of Music and Musicians, as they approach the band, the man, tapping his heels or dancing a few steps, sings a melody from an established repertory with newly improvised words addressed to his partner. The band follows the melody, and the couples move off in file, thereafter verses are sung and played in alternation, the couples circulating during the played verses
14.
Partner dance
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In 1023, the German poet Ruodlieb referred to a couple dance with a basic motif of a boy wooing a girl, and the girl repulsing his advances. Men and women dancing as couples, both holding one hand of their partner, and embracing each other, can be seen in illustrations from 15th-century Germany. At the end of the 13th century and during the 14th century, nobles, farmers and lower classes of society danced turning in a lively, springing fashion. The relatively new burgher middle class combined the dances with the processional as a dance. Danse de Paysans by Théodore de Bry shows a couple with a man lifting his partner off the ground, and his Danse de Seigneurs et Dames features one Lord with his arms around the waist of his Lady. Syncopated and dotted rhythms gained widespread popularity for dancing in the last two centuries, although usually less complex and more regular than previous music, an old couple dance which can be found all over Northern Europe is known as Manchester or Lott is Dead. Dance partners stay together for the duration of the dance and, most often, dance independently of other couples dancing at the same time, if any. Although this kind of dancing can be seen, for instance, in ballet, this term is applied to various forms of social dance, ballroom dance, folk dance. Partner dance may be a basis of a dance, a round dance. In square dance one will often change partners during the course of a dance, in most partner dances, one, typically a man, is the leader, the other, typically a woman, is the follower. As a rule, they maintain connection with each other, in some dances the connection is loose and called dance handhold. In other dances the connection involves body contact, in the latter case the connection imposes significant restrictions on relative body positions during the dance and hence it is often called dance frame. It is also said that each partner has his own dance frame, in promenade-style partner dancing there is no leader or follower, and the couple dance side-by-side maintaining a connection with each other through a promenade handhold. The man dances traditionally to the left of the woman, some peoples have folk partner dances, where partners do not have any body contact at all, but there is still a kind of call-response interaction. A popular form of dancing is slow dance. Generally, partner dance has taken place between a man and a woman, from the 1800s-1950s, however, if there was not a sufficient number partners of the opposite sex available, couples formed into pairs of the same-sex. At the time, same-sex partnering had nothing to do with sexual orientation and it was acceptable ballroom etiquette for a woman to dance with her sisters and/or friends if there were no available men. Sometimes this is also done as part of a dance tradition, partnerships of the same-sex may not necessarily describe sexual orientation as many straight individuals still partner up with members of the same-sex
15.
Sung poetry
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The compositions usually feature a delicate melody and scarce musical background, often comprising a guitar or piano. Some sung poetry performers are singer-songwriters, others use known, published poems, artists of sung poetry include people of various occupations usually with little or no particular music education, as well as stage actors. Sung poetry shares much in common with the song in Russia yet differs from it in a significant way. Similar artists in other countries are classified as bards, folk music or folk rock. Artists of other genres may or may not be included into sung poetry category. For instance Czesław Niemen whose many songs are based on works of esteemed Polish poets is usually regarded as either a rock or electronic musician. The common forms of expression are individual and collective public performances, festivals of poetry, publication of records online. Art song Website dedicated to Lithuanian sung poetry Website of Lituanian bards Polish sung poetry - text, mp3, video clip Website of Bulgarian bards
16.
World music
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The term was popularized in the 1980s as a marketing category for non-Western traditional music. Globalization has facilitated the expansion of world musics audiences and scope and it has grown to include hybrid subgenres such as world fusion, global fusion, ethnic fusion, and worldbeat. To enhance the process of learning, he invited more than a dozen visiting performers from Africa and Asia, the term became current in the 1980s as a marketing/classificatory device in the media and the music industry. There are several conflicting definitions for world music, one is that it consists of all the music in the world, though such a broad definition renders the term virtually meaningless. The term also is taken as a classification of music that combines Western popular music styles with one of many genres of music that are also described as folk music or ethnic music. However, world music is not exclusively traditional folk music and it may include cutting edge pop music styles as well. Succinctly, it can be described as music from out there. It is a nebulous term with an increasing number of genres that fall under the umbrella of world music to capture musical trends of combined ethnic style and texture. As a result, definitions of the genre have become particularly varied, similar terminology between distinctly different sub-categories under primary music genres, such as world, rock and pop can be as ambiguous and confusing to industry moguls as it is to consumers. In a report on the 2014 globalFEST National Public Radios Anastasia Tsioulcas said Even within the music community. Whats more, I believe that in peoples imaginations, world music means a kind of fairly awful, gloppy, hippy-ish. Its a problematic, horrible term that satisfies absolutely no one, the Breton musician Alan Stivell pioneered the connection between traditional folk music, modern rock music and world music with his 1972 album Renaissance of the Celtic Harp. At this time, Stivells contemporary, Welsh singer-songwriter Meic Stevens popularised Welsh folk music, more recently, other Welsh-language bands such as Calan and 9 Bach have achieved international acclaim. The broad category of music includes isolated forms of ethnic music from diverse geographical regions. These dissimilar strains of music are commonly categorized together by virtue of their indigenous roots. World fusion / Worldbeat / Ethnic fusion / Global fusion can also blend specific indigenous sounds with more blatant elements of Western pop. Depending on style and context, world music can sometimes share the music genre. Good examples are Tibetan bowls, Tuvan throat singing, Gregorian chant or Native American flute music, World music blended with new-age music is a sound, loosely classified as the hybrid genre, ethnic fusion
17.
Singer-songwriter
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Singer-songwriters are musicians who write, compose, and perform their own musical material, including lyrics and melodies. The genre began with the folk-acoustic tradition, singer-songwriters often provide the sole accompaniment to an entire composition or song, typically using a guitar or piano. Singer-songwriter is used to define popular music artists who write and perform their own material, such an artist performs the roles of composer, lyricist, vocalist, instrumentalist, and often self-manager. Most records by artists have a similarly straightforward and spare sound that placed emphasis on the song itself. The term has also used to describe songwriters in the rock, folk, and pop music genres including Henry Russell, Aristide Bruant, Hank Williams. Song topics include political protest, as in the case of the Almanac Singers, Pete Seeger, the concept of a singer-songwriter can be traced to ancient bardic oral tradition, which has existed in various forms throughout the world. Poems would be performed as chant or song, sometimes accompanied by a harp or other similar instrument, after the invention of printing, songs would be written and performed by ballad sellers. Usually these would be versions of existing tunes and lyrics, which were constantly evolving and this developed into the singer-songwriting traditions of folk culture. The term singer-songwriter in North America can be traced back to singers who developed works in the blues and folk music style. Early to mid-20th century American singer-songwriters include Lead Belly, Jimmie Rodgers, Blind Lemon Jefferson, T-Bone Walker, Blind Willie McTell, Lightnin Hopkins, Son House, the tradition of writing topical songs was established by this group of musicians. This focus on social issues has greatly influenced the singer-songwriter genre, artists who had been primarily songwriters, notably Carole King, Townes Van Zandt, and Neil Diamond, also began releasing work as performers. In contrast to the approach of most prior country and folk music. The adjectives confessional and sensitive were often used singer-songwriter style, in the rock band era, members were not technically singer-songwriters as solo acts. However, many were singer-songwriters who created songs with band members. Many others like Eric Clapton found success as singer-songwriters in their later careers, there were hints of cross-pollination, but rock and folk music had remained largely separate genres, often with different audiences. An early attempt at fusing elements of folk and rock was highlighted in the Animals House of the Rising Sun, dylan plugged an entire generation into the milieu of the singer-songwriter. In the mid- to late 1960s, bands and singer-songwriters began to proliferate the underground New York art/music scene. Lotti Golden, in her Atlantic debut album Motor-Cycle, chronicled her life in NYCs East Village in the late 60s counterculture, visiting subjects such as gender identity, kate Bush remained distinctive throughout with her idiosyncratic style
18.
Pop icon
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A pop icon is a celebrity, character, or object whose exposure in popular culture constitutes a defining characteristic of a given society or era. The categorization is usually associated with such as longevity, ubiquity. Moreover, pop icon status is distinguishable from other kinds of notoriety outside of pop culture, some historic figures are recognized as having reached pop icon status during their era, and such status may continue into the present. Pop icons of previous eras include Benjamin Franklin and Mozart, usually, the pop icon status of a celebrity is contingent upon longevity of notoriety. This is in contrast to cult icons, whose notoriety or recognition may be limited to a specific subculture. Some pop icons have left a lasting and indelible mark in the area of their career, a common element of pop icon status is the ubiquity of imagery and allusions to the iconic figure. It is common for the figure to be recognized and even celebrated in areas outside the source of celebrity status. An example of this is Albert Einstein, a physicist whose image and legacy have been represented in comic strips, T-shirts, greeting cards, often pop icon status implies distinguished association with a societal ideal or archetype. It is not uncommon for iconic figures to have a nickname or sobriquet that is used to emphasize this association, sometimes the very name of such individuals is even used as a synonym for common words or ideas. Some pop icons, such as Mickey Mouse, Winnie the Pooh, Bugs Bunny, Superman, Spider-Man, Batman, Darth Vader, The X-Men, Harry Potter, the Simpsons, even inanimate objects have been recognized as pop icons. Some figures attain transitory or context-specific pop icon status for particular events that captivate public attention, cultural icon Popular culture Teen idol List of honorific titles in popular music Danesi, Marcel. Cullen, Jim, ed. Popular Culture in American History
19.
Margaret (singer)
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Małgorzata Jamroży, known professionally as Margaret, is a Polish singer-songwriter. Before her mainstream debut, she ventured into various projects such as being a member of underground bands. She also ran a blog and during this period she was discovered by her manager and later signed by her record label Extensive Music. Margarets breakthrough came in 2013 after the release of her single, Thank You Very Much. The song charted in the top fifty in Austria, Germany, Margarets debut studio album, Add the Blonde, was released in 2014. It peaked at eight in Poland and was certified platinum by the Polish Society of the Phonographic Industry. The album contained three singles, Wasted, Start a Fire and Heartbeat, which reached number six, ten and eleven in Poland and its 2016 reissue produced Margarets first top five single in Poland, Cool Me Down. The song was also a commercial success in Romania and Sweden, charting within the top thirty and top forty. Cool Me Down was certified platinum in Poland and gold in Sweden. In 2015, Margaret recorded a jazz album with Matt Dusk titled Just the Two of Us. The singer has won a number of awards, including four Eska Music Awards, in 2014, she was included on the list of 100 Most Valuable Stars of Polish Show Business compiled by the Polish edition of Forbes magazine. In 2015, Wprost named her one of the 50 Most Influential Polish Celebrities, małgorzata Jamroży was born on 30 June 1991 in Stargard Szczeciński, Poland, to teachers Ryszard and Elżbieta. She has an older brother Tomasz, with whom she grew up in Ińsko and she adopted the name Julita as her confirmation name. Margaret attended the Schools Complex in Ińsko, and graduated from Liceum ogólnokształcące No.14 in Szczecin and she is also a graduate of Ignacy Jan Paderewski first degree State Music School in Choszczno, Poland, where she first studied clarinet and then changed it to saxophone. Shortly after finishing the school her nasal septum got damaged in an accident which temporarily disabled her from playing on the instrument. The singer also attended the Jazz Academy in Kraków, Poland, at the age of eighteen, Margaret moved to Warsaw, Poland, where as of June 2016 she resides in an apartment in Śródmieście. In Warsaw, she embarked on an English studies degree at the University of Social Sciences and Humanities, after resigning, she went on to do a degree in fashion design at the International School of Costume and Fashion Design in Warsaw, graduating in 2015. Margarets career began during her year as a singer-songwriter in the band oNieboLepiej, formed in early January 2009
20.
Maria Peszek
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Maria Peszek is a Polish singer, songwriter and actress. She embarked on an acting career in the early 1990s and went on to appear in over 40 stage plays, as well as a number of feature films. Peszek is noted for lyrics and subjects of her work. Peszek was born in Wrocław, Poland into a family of actors and her debut album, Miasto mania, was released in October 2005 by Kayax, an independent label co-founded by Polish singer Kayah. The material on the album drew inspiration from Polands capital, Warsaw and it spawned the popular lead single Moje miasto and was a critical and commercial success, eventually reaching platinum certification for selling in over 30,000 copies. In 2006, Peszek won the Fryderyk award for best new act and released an extended play Mania siku which consisted of live recordings, september 2008 saw the release of her next album, entitled Maria Awaria. The album explicitly dealt with the concept of sexuality and caused many controversies. Nonetheless, it gathered numerous flattering reviews and became her first number 1 album and it was certified platinum in less than a month and won the Paszport Polityki award in 2009. Peszek contributed the song to a controversial Polish film Z miłości in 2011, before releasing her third studio album, Jezus Maria Peszek. Prior to recording the album, Peszek had suffered nervous breakdown which was widely discussed across Polish media. The album was a criticism towards organized religion, patriotism and social norms which caused further controversies and it was another major success, gathering highly flattering reviews, debuting atop Polish albums chart and eventually receiving platinum certification. Peszek embarked on a tour to promote the album which resulted in the live release JEZUS is aLIVE. Her fourth album, Karabin, was released in February 2016 and explored such topics as freedom, hatred, although it did not match the critical success of its predecessors, it went gold in Poland in just over a month. To promote the album, Peszek performed concerts in Poland, Ireland, England, Maria Peszek on Facebook Maria Peszeks channel on YouTube Maria Peszek on Instagram
21.
Myslovitz
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Myslovitz is a Polish rock band. Since 2003, EMI Group has been attempting to establish them internationally, the band take their name from their industrial hometown of Mysłowice in Upper Silesia. In 1994 they changed their name to Myslovitz after their hometown of Mysłowice, the bands early phase was characterised by a somewhat debonair punk attitude, as Rojek admits, I started Myslovitz in 1992. I was twenty then and I had no idea how to make good music, surely, I was a big fan of a few British groups but I couldnt play the guitar at all. After several months of rehearsals I decided that I should cover the holes in my musical education by chaos. Even so, they caught the medias attention, winning several important competitions for young musicians. Upon its release in 1995, the album received reviews and was declared Debut of the Year by several music magazines. Some critics compared it to Oasis, who were at the peak of their popularity at that time, in 1996, Myslovitz were joined by a third guitarist and keyboarder, Przemek Myszor, and released the second album Sun Machine on Sony Music Polska. The following year, the third album Z rozmyślań przy śniadaniu was released, displaying a tendency towards a more polished sound, the bands interest in cinema also showed in their contributions to soundtracks. In 1998, they recorded the unconventional track To nie był film for the Polish movie Młode wilki ½, the lyrics referred to a wave of violent crimes committed by juvenile delinquents, which was controversially discussed in Polish mass media in the mid-1990s. The explicit depiction of violence in the lyrics and the video clip caused further controversy. Also in 1998, Myslovitz had their first appearances abroad with shows in Sweden, Germany, the final breakthrough for the band came in 1999]with their fourth album entitled Miłość w czasach popkultury, which went platinum soon and has by now achieved double platinum status in Poland. The single Długość dzwięku samotności became the biggest hit for the band so far, in 2003 Myslovitz continued their cooperation with Stuhr, creating not only the title song for his movie Tomorrows Weather, but also appearing in walk-on roles - as neophyte monks. In 2002, the follow-up to Miłość, entitled Korova Milky Bar appeared, the title being an allusion to Stanley Kubricks classic screen version of Anthony Burgesss A Clockwork Orange. Strikingly, the melancholic elements took over almost completely, with music and lyrics creating an almost depressive overall mood. Nonetheless, the album even more copies than its predecessor had in the same time, with the singles Acidland. Its a place like todays Poland and you know, Poland is a place where very strange things happen to your mind. Its a country full of crisis and everything around you is very sad, very dark, there is an economic crisis here
22.
Edyta Bartosiewicz
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Edyta Bartosiewicz is a Polish rock singer, composer, and songwriter. Her career has been awarded by five Fryderyks, in Poland, shes known for her highly reflective and unusual lyrics. Bartosiewicz learned to play guitar a ten, after her return to Warsaw, having dropped out of college, she joined the Staff group. In 1989 she won Mokotowska Jesień Muzyczna, in the following year, she appeared on The Big Beat, an album by the band Halloee Poloy. She received a number of awards and sang guest and backing vocals on various records, Edyta quit Halloee Poloy due to, as she said herself, resistance to her composing and song writing style. At the end of 1991 she started recording the album Love in studio S-4 in Warsaw, Rafał Paczkowski was responsible for the production of that album. This time her album was successful, by 2001, sixty seven thousand copies had been sold and finally the album achieved Gold status. The most popular singles from album were, “If”, “Goodbye to the Roman Candles, ” “Blues for you”. The album was released in Western Europe by Chrysalis Records but was not noticed in this market at all. On May 18,1994, the album “Dream” was released by Izabelin Studio and it was recorded with a completely new band i. e. Michał Grymuza, Radosław Zagajewski, Krzysztof Palczewski. Leszek Kamiński was responsible for the production and this time her new album was sung mostly in Polish unlike the previous one “Love”, sung mostly in English. The music can be described as variable, including acoustic songs as well as rock songs such as cover of the song “Move Over” by Janis Joplin. Her songs, “Dream”, “Capricorn”, “Tattoo”, or “Joke at a Zoo” were a success on the music charts. In 1994, at the end of September, nine concerts were given in the nine biggest Polish cities, the tour ended with a huge success, as well as the album, which achieved Platinum status after selling over 300 thousand copies. Bartosiewicz herself was announced the best singer by the readers of the Polish magazine “Only Rock”, the singer also received two 1995 Fryderyk Awards in the category, the Best Artist and the Best Pop/Rock Album. By the beginning of 1995 a new single “Wonderful tonight” was realized and it was a cover of Eric Clapton song and it reached second place on Hit Parade of Program 3. At the beginning of July a new single “Madness” was released, in October people could see Edyta perform live in 13 cities. This tour ended in May 1996, the biggest hits are, the promotion single “Madness”, Time of high tide”, “The Clock” which was realised on a single in November, and the greatest, immortal ballade “The Last One”
23.
Doda (singer)
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Dorota Rabczewska, better known by her stage name Doda, is a Polish musical artist, among the most successful Polish artists in terms of number of prizes won. She is the MTV Europe Music Awards winner and the World Music Awards nominee, Doda is notable for her innovative and controversial performances and music videos. She was first known as a member of the Polish rock band Virgin, after the group disbanded in 2007, she continued with a solo career, releasing two platinum albums, Diamond Bitch and 7 pokus głównych. In 2016, Virgin announced their reunion and that same year they released their fourth studio album Choni. In 2008, Doda was featured on CNNs list of 10 Most Famous Poles in history, in 2010, she was included on the list of 50 Best Polish Female Vocalists compiled by Machina magazine. A year later, Polish magazine Viva. put her among 10 Most Influential Women in Poland, in 2011, she was also included on the list of 100 Most Influential Poles compiled by Wprost magazine. She was the female musician to be included on the list. Dorota Rabczewska was born in Ciechanów, Poland, in her youth, she was coached in athletics for four years. She won the Voivodeship Championships for 100 and 60 meters, long jump and she also won bronze in the Polish Championships. She then quit sports for a musical career and she started her musical career in 1998 as a teenager, at the Buffo Theater in Warsaw. Simultaneously, she took singing lessons from Elżbieta Zapendowska, one of the most famous singing coaches in Poland, after auditioning at the age of 16, Doda became the vocalist for the Polish hard rock band Virgin. In 2002, they made their debut by releasing their first studio album titled Virgin and it was promoted by two singles, To Ty and Mam tylko Ciebie. To promote the band and the further, Doda took part in the Polish version of the reality TV series called The Bar. Two years after their debut, the released their second studio album called Bimbo. It was released on 17 May 2004, the album debuted at number one on the Polish Album Sales Chart. The first single to be released from the album was Dżaga and it became their first mainstream hit. In its music video Doda and her future husband Radosław Majdan – Polish goalkeeper are seen having sex, the next singles were ballads Kolejny raz and Nie zawiedź mnie. To promote Bimbo Virgin embarked on their first concert tour Bimbo Tour, after a line-up change the group performed their new single, a power-ballad Znak pokoju, at the Sopot International Song Festival and won its Viewers Choice Award
24.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
25.
Krzysztof Komeda
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Krzysztof Komeda — born Krzysztof Trzciński — was a Polish film music composer and jazz pianist. Perhaps best known for his work in film scores, Komeda wrote the scores for Roman Polanski’s films Knife in the Water, Cul-de-sac, The Fearless Vampire Killers, and Rosemary’s Baby. Born Krzysztof Trzciński, he chose Komeda as his name only upon graduation from university as a means of distancing himself as musician from his daytime job in a medical clinic. He grew up in Częstochowa and Ostrów Wielkopolski where in 1950 he graduated from the Gymnasium for Boys, while at school, he participated in the Music and Poetry Club. After high school he entered the Medical Academy in Poznań to study medicine and he finished his six-year-long studies and obtained a medical doctor diploma in 1956. He chose to specialize as an otolaryngology physician and he took music lessons from early childhood, to become a renowned virtuoso was his dream. He became a member of the Poznań conservatorium at the age of eight, Komeda explored the theory of music, and learned to play piano, during this period and later, until 1950, however, he was aware of the loss of the past six years. Komeda was interested in light and dance music and he met Witold Kujawski, a graduate of the same school and already a well-known swinging bass player, at the gymnasium in Ostrów Wielkopolski. It was Kujawski who acquainted Komeda-Trzciński with jazz, and took him to Kraków, the romantic period of Polish jazz, called the catacombs, had its day in the spotlight. Concert publicity did not exist then, jam sessions, which such famous musicians as Matuszkiewicz, Borowiec, Walasek and Kujawski himself participated in, took place in Witold’s legendary small apartment in Kraków. Some years later, it clear why Komeda was fascinated with be-bop performed by Andrzej Trzaskowski. The fascination with jazz and the friendship with famous musicians strengthened his connections with music and he worked for some time with the first, postwar, pioneer Polish jazz band, a group called Melomani that was from Kraków and Łódź, whose mainstays were Matuszkiewicz, Trzaskowski and Kujawski. Later on, he played with various pop groups from Poznań, one of them was Jerzy Grzewińskis group, which soon transformed itself into a dixieland band. Komeda appeared with Grzewiński on the I Jazz Festival in Sopot in August 1956, the reason for that was simple, dixieland did not meet Komeda’s expectations at the time. He was more fascinated with modern jazz, thanks to this passion, the Komeda Sextet was created. Krzysztof Trzciński used the stage name Komeda for the first time when he worked at a laryngological clinic, and wanted to conceal his interest in jazz from co-workers. Jazz was beginning its struggle for respectability with the communist authorities in the era of the thaw and Polish society also, the Komeda Sextet became the first Polish jazz group playing modern jazz, and its pioneering performances opened the way for jazz in Poland. He played jazz that related to European traditions and which was the synthesis of the two most popular groups at that time, The Modern Jazz Quartet and the Gerry Mulligan Quartet
26.
Adam Makowicz
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Adam Makowicz is a Polish pianist and composer living in Toronto. He performs jazz and classical pieces, as well as his own compositions. His technical skills as jazz pianist have been compared to that of Art Tatum, Oscar Peterson and his specialty in classical piano since his studies in the 1950s has been the music of Chopin. Adam Makowicz was born into a family of ethnic Poles in Hnojník, after the war, he was raised in Poland. He studied classical music at the Chopin Conservatory of Music in Kraków, overcoming cultural restrictions under communism, he developed a passion for modern jazz. At the time, political freedom and improvisation were disapproved of by the pro-Soviet authorities, nonetheless, he embarked on a new professional life by switching from the career of a classical pianist to that of a touring jazz pianist. After years of hardship, Makowicz got a gig at a small jazz club in a cellar of a house in Kraków. By the mid-1970s, Makowicz established himself as one of the leading pianists in Europe and he was named the Best jazz pianist by the readers of Jazz Forum magazine, and was awarded a gold medal for his contribution to the arts. In 1977 Makowicz made a 10-week concert tour of the United States, at that time he recorded a solo album titled Adam on CBS. In 1978 he settled in New York, Makowicz was banned from Poland during the 1980s after the Polish regime imposed martial law to crush the Solidarity movement. At that time he took part in Ronald Reagans initiative called Let Poland Be Poland, joining many artists, during the 2000s, he moved to Toronto, Ontario, Canada, and continued his career as a concert pianist and recording artist. Eventually he recorded over 30 albums of jazz, popular, and classical music, with his own arrangements of pieces by Chopin, Gershwin, Berlin, Kern, Porter, Rogers, Makowicz also wrote and recorded his own compositions for piano. Makowicz has been building bridges between cultures by his numerous concerts performance and recordings of cross-cultural and cross-style compositions, in 1999, in commemoration of 150th anniversary of Chopins death, Adam Makowicz played his piano tribute to Chopin at the French Embassy in Washington. His interpretations of pieces by Chopin and Gershwin are marked by finesse, inventiveness. West Germany 1968 New Faces in Polish Jazz, Poland 1973 Adam Makowicz Unit Polish Jazz, Vol.35 Muza. Poland 1975 Live Embers - Adam Makowicz, Piano Muza SX1218, Poland 1975 Tomasz Stanko & Adam Makowicz Unit JG Records. Poland 2000 Reflections on Chopin AM Records 2000 Adam Makowicz plays Duke Ellington Musicians Showcase Records, USA2003 Songs for Manhattan Adam Makowicz, solo piano. USA2003 A Tribute to George Gershwin with the Orchestra Della Svizzera Italiana, image Entertainment 2004 Makowich vs Mozdzer at Carnegie Hall Pomaton
27.
Death metal
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Death metal is an extreme subgenre of heavy metal music. Building from the structure of thrash metal and early black metal. Bands such as Venom, Celtic Frost, Slayer, and Kreator were important influences on the genres creation, Possessed and Death, along with bands such as Obituary, Autopsy and Morbid Angel, are often considered pioneers of the genre. In the late 1980s and early 1990s, death metal gained more attention as popular genre niche record labels like Combat, Earache. Since then, death metal has diversified, spawning several subgenres, melodic death metal combines death metal elements with those of the new wave of British heavy metal. Technical death metal is a style, with uncommon time signatures, atypical rhythms. Death-doom combines the deep growled vocals and double-kick drumming of death metal with the slow tempos, deathgrind, goregrind and pornogrind mix the complexity of death metal with the intensity, speed, and brevity of grindcore. Deathcore combines death metal with metalcore traits, Death n roll combines death metals growled vocals and highly distorted, detuned guitar riffs with elements of 1970s hard rock and heavy metal. English heavy metal band Venom, from Newcastle, crystallized the elements of what became known as thrash metal, death metal and black metal. Their dark, blistering sound, harsh vocals, and macabre, another highly influential band, Slayer, formed in 1981. Although the band was a metal act, Slayers music was more violent than their thrash contemporaries Metallica, Megadeth. Their breakneck speed and instrumental prowess combined with lyrics about death, violence, war, according to AllMusic, their third album Reign in Blood inspired the entire death metal genre. It had a big impact on the genre such as Death, Obituary. While attributed as having a Slayer influence, current and former members of the band had actually cited Venom and Motörhead, as well as work by Exodus. Possessed arguably did more to further the cause of Death Metal than any of the acts on the scene back in the mid-late 80s. During the same period as the dawn of Possessed, an influential metal band was formed in Florida. Death, originally called Mantas, was formed in 1983 by Chuck Schuldiner, Kam Lee, in 1984 they released their first demo entitled Death by Metal, followed by several more. The tapes circulated through the tape trader world, quickly establishing the bands name, with Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene
28.
Black metal
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Black metal is an extreme subgenre and subculture of heavy metal music. Common traits include fast tempos, a vocal style, heavily distorted guitars played with tremolo picking, raw recording, unconventional song structures. Artists often appear in corpse paint and adopt pseudonyms, during the 1980s, several thrash and death metal bands formed a prototype for black metal. This so-called first wave included bands such as Venom, Bathory, Mercyful Fate, Hellhammer, a second wave arose in the early 1990s, spearheaded by Norwegian bands such as Mayhem, Darkthrone, Burzum, Immortal, Emperor, Satyricon and Gorgoroth. The early Norwegian black metal scene developed the style of their forebears into a distinct genre, norwegian-inspired black metal scenes emerged throughout Europe and North America, although some other scenes developed their own styles independently. Some prominent Swedish bands spawned during this wave, such as Marduk, Nifelheim. Initially a synonym for Satanic metal, black metal is often met with hostility from mainstream culture, due to the actions, many artists express extreme anti-Christian and misanthropic views, advocating various forms of Satanism or ethnic paganism. In the 1990s, members of the scene were responsible for a spate of church burnings, there is also a small neo-Nazi movement within black metal, although it has been shunned by many prominent artists. Generally, black metal strives to remain underground, inaccessible to the mainstream, although contemporary black metal typically refers to the Norwegian style with shrieking vocals and raw production, the term has also been applied to bands with widely differing sounds. Norwegian-inspired black metal guitarists usually favor high-pitched or trebly guitar tones, the guitar is usually played with fast, un-muted tremolo picking. Guitarists often use dissonance—along with specific scales, intervals and chord progressions—to create a sense of dread, the tritone, or flat-fifth, is often used. Guitar solos and low guitar tunings are rare in black metal, the bass guitar is seldom used to play stand-alone melodies. It is not uncommon for the bass to be muted against the guitar, some newer black metal bands began raising their production quality and introducing additional instruments such as synthesizers and even orchestras. The drumming is usually fast and relies on double-bass and blast beats to maintain tempos that can sometimes approach 300 beats per minute and these fast tempos require great skill and physical stamina, typified by black metal drummers Frost and Hellhammer. Even still, authenticity is still prioritized over technique and this professionalism has to go, insists well-respected drummer and metal historian Fenriz of Darkthrone. I want to de-learn playing drums, I want to play primitive and simple, I dont want to play like a drum solo all the time, Black metal songs often stray from conventional song structure and often lack clear verse-chorus sections. Instead, many black metal songs contain lengthy and repetitive instrumental sections, the Greek style—established by Rotting Christ, Necromantia and Varathron—has more traditional heavy metal and death metal traits than Norwegian black metal. Traditional black metal bands tend to favor raspy, high-pitched vocals which include such as shrieking, screaming, and snarling
29.
Behemoth (band)
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Behemoth is a Polish blackened death metal band from Gdańsk, formed in 1991. They are considered to have played an important role in establishing the Polish extreme metal underground, despite Behemoth having been labeled as death metal or thrash metal-influenced, Nergal has mentioned that he does not like the band to be labeled. Behemoth was formed in 1991 as a trio, with Nergal on guitar and vocals, Baal on the drums and they started with the demos Endless Damnation, and The Return of the Northern Moon. The most significant however, was the third demo—. From the Pagan Vastlands and this tape was released by Polish label Pagan Records and later on by the American Wild Rags. Their next release was Sventevith in 1995, a year later, they recorded their second album Grom, which was released in 1996. Grom features many different influences and musical styles, using vocals as well as acoustic guitars and synthesizers. At the same time, Behemoth finally got a chance to live shows in its native country and finally tour around Europe. Two years later, the recorded a third album, titled Pandemonic Incantations. The culmination of their presence and metal media set a new standard for them. However, due to a lack of promotion, the album was not well-publicized, after another extensive tour, Behemoth signed a two-album deal with Italys Avantgarde Music in the fall of 1998. The first result of this new collaboration was the successful album Satanica, the label also secured two European tours for the band in support of Deicide and Satyricon respectively. During that period, Behemoth had to go through some changes and had problems with their ex-Polish label. By the time Satanica came out, Inferno and Les were out of the band, Nergal began looking for new members but could not find a new drummer. Inferno returned to the band in early 2000, along with new members Novy, who handled the duties, and Havok. After the line-up changes Behemoth signed with the Polish label Mystic Production, the follow-up release to Satanica was Thelema.6. Massive guitar parts and precise drumming, with influences from different sources, Thelema.6 was supported by the worldwide press and media, including official releases in Russia and Brazil for the first time. Continuing the support for Thelema.6, Behemoth appeared in several live events like Wacken Open Air, With Full Force, Inferno Metal Festival, Mystic Festival. They started first their headlining tour alongside Carpathian Forest and Khold, in 2001, Behemoth focused on writing new material for a sixth studio album
30.
Vader (band)
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Vader is a Polish death metal band from Olsztyn. Formed in 1983, the group was founded by then-bassist Piotr Peter Wiwczarek, starting as a heavy metal group, Vader eventually went to thrash, speed, and then in the late 1980s became a death metal band. The bands name was inspired by Darth Vader from the Star Wars film series, lyrical themes include stories by H. P. Lovecraft, World War II, horror, and anti-religious messages. According to Billboard magazine, by 2002 Vader sold approximately 500,000 releases around the world, Vader was formed in 1983, the same year as the very first death metal pioneers Possessed and Death. However, at this time Vader was a metal band, later evolving into thrash metal and then finally death metal for the bands first demo, Live in Decay. Vader released another demo, Necrolust, in 1989, but it was not until the third demo, Morbid Reich, in 1990. Morbid Reich sold nearly 10,000 copies, making it one of the most sold metal demos ever and this success earned the group a contract with Earache Records. The songs from Morbid Reich would appear later on Vaders full-length debut album in 1993, due to communication breakdowns, the contract with Earache was terminated and the release of Sothis and The Darkest Age, Live 93, both in 1994, had to be released on different labels. In the meantime, Vader toured relentlessly, and in 1995, Vader then released De Profundis, Future of the Past, and Black to the Blind. Then, Hammerheart Records re-released two early demos, Necrolust and Morbid Reich, as the compilation Reborn in Chaos, in August 1998, Vader released Live in Japan. Vader also recorded the Kingdom EP and a VHS video entitled Vision and Voice around this time, in October 1998, Vader opened for Slayer during a show in Poland. At the end of 1998, Vader signed a contract to Metal Blade Records, Vader spent most of 1999 touring. In March, Vader embarked on their first headlining U. S. tour, the International Extreme Music Festival 1999, in June, the band went on another European tour, and the rest of the summer was filled with numerous appearances at festivals in Central Europe. Vader concluded touring by embarking on a European tour with metal band Testament. In November and December 1999, Vader recorded the album Litany, which was released in March 2000, and recorded a video for the song Cold Demons. In April 2001, Vader released the EP Reign Forever World, featuring re-recorded songs, cover songs, the band promoted the album intensively, touring Poland, Russia and Ukraine, and again in the U. S. In September 2001, they did another European tour with Cryptopsy, Dying Fetus, Catastrophic and this was followed by ten Polish appearances as part of the Thrashem All Festival 2001, along with Krisiun, Behemoth and several Polish death metal and black metal bands. In 2002, Vader released Revelations, and toured England, Scotland, in May, the band released its first DVD, More Vision and the Voice
31.
Decapitated (band)
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Decapitated is a Polish extreme metal band formed in Krosno in 1996. The group comprises guitarist, founder and composer Wacław Vogg Kiełtyka, vocalist Rafał Piotrowski, bassist Paweł Pasek, Decapitated have gained recognition as one of the genres most widely respected bands and one of the finest exponents of technical death metal. The band earned a fan base in the underground music community. Vogg and his brother, drummer Witold Vitek Kiełtyka, founded Decapitated along with vocalist Wojciech Sauron Wąsowicz in their mid-teens. After releasing two demos, the signed with Wicked World and, in 2000, released their debut album. In 2002 and 2004 the band released the albums Nihility and The Negation, the bands ambitious fourth album, Organic Hallucinosis, was released in 2006 with a new vocalist, Adrian Covan Kowanek. In late 2007, the band was involved in an automobile accident, Vitek died at the age of 23 on November 2,2007 of the injuries he suffered from the accident and Covan survived, but he slipped into a coma as a result. After a period of disbandment, Vogg reformed Decapitated and in 2011 released the fifth album, the latest album, Blood Mantra, was released in 2014. One year later, bassist Marcin Martin Rygiel,13, joined the band, Decapitated released its first demo, Cemeterial Gardens, in 1997 and its second demo, The Eye of Horus, in 1998. The band toured with Vader in early 2001 in the United Kingdom, Allmusic states that Decapitated have quickly gained recognition as one of Polands, and even Europes, finest exponents of ultra-technical death metal. Decapitateds self-produced second album, Nihility, which was released in February 2002, Nihility also included a cover version of Napalm Deaths Suffer the Children. Decapitated was chosen to perform at the Polish Ozzfest event in late May and toured in North America, sławek and Wojtek Wiesławscy produced the bands next album, The Negation, which was released in February 2004. The album received a response from the critics and was followed by a tour in Europe. In mid-2005, Sauron announced his withdrawal from Decapitated, stating, however, I could reconcile the welfare of the band with my personal plans, and hence quitting appeared to be the best solution not hampering the evolution of Decapitated. Moreover, another reason that contributed to my decision have been some health complications, according to Allmusic, the bands musical change of direction on this album was likely to polarize longtime Decapitated fans. During the year, Decapitated toured with American bands Suffocation, Six Feet Under, Fear Factory, in June and July 2007, Decapitated played with Cephalic Carnage and others in the Summer Slaughter trek across the US. Later on, Martin departed from Decapitated to live with his family, on October 28,2007 the band members were involved in an automobile accident that injured Vitek and Covan. Their tour bus collided with a truck carrying wood in Gomel, Vitek died on November 2,2007 at the age of 23 in a Russian hospital from the injuries
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Wojciech Kilar
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Wojciech Kilar was a Polish classical and film music composer. In 2003, he won the César Award for Best Film Music written for The Pianist, at Frances 28th César Awards Ceremony in 2003, the Pianist featured his Moving to the Ghetto Oct.31,1940 with the other 10 tracks being works by Frédéric Chopin. The music in the movie includes pieces by Beethoven and Bach, Wojciech Kilar was born on 17 July 1932 in Lwów. His father was a gynecologist and his mother was a theater actress, Kilar has spent most of his life since 1948 in the city of Katowice in Southern Poland, married to Barbara Pomianowska, a pianist. Kilar was 22 years old when he met 18-year-old Barbara, his future wife, in 1957 he took part in the International New Music Summer Course in Darmstadt. In 1959–60 a French government scholarship enabled him to study composition under Nadia Boulanger in Paris, Kilar belonged to the Polish Avant-garde music movement of the Sixties, sometimes referred to as the New Polish School. In 1977 Kilar was one of the members of the Karol Szymanowski Society. Kilar chaired the Katowice chapter of the Association of Polish Composers for many years and he was also a member of the Repertoire Committee for the Warsaw Autumn International Festival of Contemporary Music. In 1991 Polish filmmaker Krzysztof Zanussi made a film about the composer titled Wojciech Kilar. He made his English-language debut with Francis Ford Coppolas adaptation of Dracula and this occurs in those compositions that reference folk music and in patriotic and religious pieces. During the summer of 2013, Kilar manifested signs of health, such as fainting and elevated blood pressure. However, in September he fell while on the street and he was admitted to a hospital, where he was diagnosed with a brain tumor, though news of his illness were not publicly released only until after his death. He underwent a surgery to remove the tumor, which caused no serious side–effects, Kilar was very optimistic. In addition, he underwent radiotherapy for six weeks, a process which left 81-year-old Kilar physically exhausted, in early December 2013, Kilar left the hospital to return to his residence in Katowice. As he did not have any children, he was taken care of by his niece and he was also regularly visited by a Catholic priest and received the Holy Communion twice during the Christmas season. His condition deteriorated on 28 December and on the morning of Sunday,29 December 2013, following the cremation of his body, Kilars funeral was held on 4 January 2014 at the Cathedral of Christ the King in Katowice. After the service, his ashes were laid to rest alongside those of his wife, later in life, Kilar composed symphonic music, chamber works and works for solo instruments. January 2001 saw the premiere of his Missa pro pace at the National Philharmonic in Warsaw
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Jan A. P. Kaczmarek
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Jan Andrzej Paweł Kaczmarek is a Polish composer who has lived and worked in the United States since 1989. He has written the scores for more than 50 feature films and documentaries, including Finding Neverland, for which score he won an Academy Award, other notable scores were for Hachi, A Dogs Tale, Unfaithful, Evening, The Visitor, and Washington Square. Jan A. P. Kaczmarek was born in 1953 in Konin, studying music from an early age, he graduated in law studies from Adam Mickiewicz University in Poznań. In the late 1970s, Kaczmarek started working with Jerzy Grotowski and he created the Orchestra of the Eighth Day in 1977. He recorded his first album, Music for the End, for the United States company Flying Fish Records, in 1989, Kaczmarek moved to Los Angeles, California in the US. In 1992 he won the Drama Desk Award for Outstanding Music in a Play for his music for Tis Pity Shes a Whore. His music has released by Sony Classical, Decca, Varèse Sarabande, Verve, Epic, Milan. He gives concerts in the United States and Europe, in 2005, Kaczmarek received the Academy Award for Best Original Score for Finding Neverland, directed by Marc Forster, on which he worked with music editor Christopher Kennedy, among others. Kaczmarek also won the National Board of Review award for Best Score of the Year and was nominated for a Golden Globe, both premieres were broadcast live on Polish national television. He received the Knight’s Cross of the Order of Reborn Poland for his artistic achievements. Kaczmarek is a member of the American Academy of Motion Picture Arts and Sciences, European Film Academy, in 2007, Kaczmarek began working to set up a film institute in his home country of Poland. Inspired by the Sundance Institute, he intends for the new institute to serve as a European center for the development of new work in film, theater, music and his Instytut Rozbitek opened in 2010. Kaczmarek is the founder and director of the Transatlantyk Festival, in Łódź, list of Poles Jan A. P. Kaczmarek - Official Site Jan A. P. Kaczmarek at the Internet Movie Database Jan A. P. Kaczmarek at Culture. pl
34.
Zbigniew Preisner
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Zbigniew Preisner is a Polish film score composer, best known for his work with film director Krzysztof Kieślowski. Zbigniew Preisner was born in Bielsko-Biała, and studied history and philosophy in Kraków, never having received formal music lessons, he taught himself music by listening and transcribing parts from records. His compositional style represents a distinctively spare form of tonal neo-Romanticism, paganini and Jean Sibelius are acknowledged influences. Preisner is best known for the music composed for the directed by fellow Pole Krzysztof Kieślowski. His Song for the Unification of Europe, based on the Greek text of 1 Corinthians 13, is attributed to a character in Kieślowskis Three Colors, Blue and plays a dominating role in the story. His music for Three Colors, Red includes a setting of Polish and French versions of a poem by Wisława Szymborska, a Polish Nobel Prize-winning poet. After working with Kieślowski on Three Colors, Blue, Preisner was hired by the producer Francis Ford Coppola to write the score for The Secret Garden, directed by Polish director Agnieszka Holland. Although Preisner is most closely associated with Kieślowski, he has collaborated with other directors. He has won a number of awards, including another César in 1994 for Three Colors, Red. He was nominated for Golden Globe awards for his scores for Three Colors, Blue, in 1998, Requiem for My Friend, Preisners first large scale work not written for film, premiered. It was originally intended as a work to be written by Krzysztof Piesiewicz and directed by Kieślowski. The Lacrimosa from this Requiem appears in Terrence Malicks The Tree of Life, the Dies Irae from this Requiem appears in the film La Grande Bellezza, directed by Paolo Sorrentino. He has also worked with director Thomas Vinterberg on the 2003 film Its All About Love, silence, Night and Dreams is Zbigniew Preisners new recording project, a large-scale work for orchestra, choir and soloists, based on texts from the Book of Job. The premier recording, was released in 2007 with the singer of Madredeus, Teresa Salgueiro. Van den Budenmayer is a fictitious 18th-century Dutch composer created by Preisner, Preisner said Van den Budenmayer is a pseudonym he and Kieślowski invented because we both loved the Netherlands. Music by the Dutch composer plays a role in three Kieślowski films, the second is Three Colours, Blue in which a theme from his musique funebres is quoted in the Song for the Unification of Europe. Its E minor soprano solo is prefigured in the earlier film The Double Life of Veronique, the third is Three Colours, Red. Zbigniew Preisner discography at MusicBrainz Zbigniew Preisner at the Internet Movie Database Television Interview with Preisner from C Music TV
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Krzysztof Meyer
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Krzysztof Meyer is a Polish composer, pianist and music scholar, formerly Dean of the Department of Music Theory at the State College of Music, and president of the Union of Polish Composers. Meyer served as professor of composition at the Hochschule für Musik in Cologne from 1987 to 2008, Meyer was born in Kraków, Poland. As a boy he played piano and organ, and began his composition study early – in 1954, then, at the State College of Music in Kraków he continued studying with Wiechowicz, and after his death in 1964, did his diploma with Krzysztof Penderecki. In Paris, he took courses with Nadia Boulanger, and in Warsaw he became a pupil of Witold Lutosławski. His Symphony No.1 was his first work to be performed, in 1965, while still a student, he made his debut at the Warsaw Autumn, as the youngest composer in the festival’s history. Later he continued to be active as a pianist, performing mostly his own works, from 1966 to 1987 Meyer taught theory at the State College of Music, holding the chairmanship of the Department of Music Theory from 1972 to 1975. From 1987 to 2008 he was professor of composition at the Hochschule für Musik in Cologne and he has written biographies of Dmitri Shostakovich and Witold Lutosławski. From 1985 and 1989 he was the president of the Union of Polish Composers, for fourteen years he took part in the work of the Repertory Committee of the Warsaw Autumn International Festival of Contemporary Music. In his early compositions, Meyer experimented with unconventional sonorities, typical of the Polish avant-garde music in the 1960s and he used twelve-tone technique, albeit freely, as well as aleatoric technique and collage. All these means appear in his first opera Cyberiada, to a libretto after Stanisław Lems The Cyberiad. In later works, Meyer gradually limited the multitude of sonic ideas and he increasingly focussed on the drama and expression as understood in a traditional way although avoiding romantic effects. The style of Meyers later works reflects his interest in tradition, even his use of such as string quartet, sonata, concerto. Examples of these are the variation of the tempi in String Quartet No.11 or the changes of rhythm in String Quartet No.10, some pieces for large ensembles can be listened to as a musical commentary to a political event or existential reflection. These topics are hinted at by the subtitles and quotations or the use of the text, the catastrophic message of the oratorio The Creation of the World is told through the text but its expression is achieved through the music. Libretto by the composer, based upon Stanisław Lems series of short stories, ballet on the motives from Stanisław Moniuszkos opera -1980 The Gamblers. A Completed Version of Dmitri Shostakovichs opera after N. Gogol -1981 The Maple Brothers, Krzysztof Meyer, Witold Lutosławski, Cracow 2003,2004 Krzysztof Meyer, Dmitri Schostakowitch. 111–133 Krzysztof Meyer, Analyse musikalischer Form in Psychologischer Hinsicht, in, Musikpedagogik als Aufgabe, Kassel 2003 and numerous articles published in Poland and abroad. Krzysztof Meyer at culture. pl Krzysztof Meyer bio at Sikorski. de Krzysztof Meyer, Portrait, Catalogue of works, L. Rappoport-Gelfand, Musical Life in Poland
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