Album insights
Karol Szymanowski's musical development was deeply intertwined with the piano. Starting piano lessons at the age of seven, he learned from his father and later his uncle Gustav Neuhaus, whose son Genryk (Genrich or Heinrich) later taught renowned pianists such as Swjatoslaw Richter, Emil Gilels, and Radu Lupu. Szymanowski's early works on the piano can be divided into three distinct periods: romantic influences marked his early compositions until around 1910, followed by an impressionistic phase from 1914 to 1918, and a later period showcasing his dedication to Polish nationalism starting in 1920. This shift was sparked by his encounter with folk music from the Zakopane region in the Tatra Mountains, which opened up new realms of inspiration for him.
Szymanowski's interest in folk art blossomed later in his career, particularly after being introduced to the music of the Góralen people by Dr. Adolf Chybinski in 1920. This encounter sparked a creative turning point for Szymanowski, guiding him towards incorporating elements of Góralen music in his compositions. The motif from the Góral song Sabala found its way into Szymanowski's vocal cycle "Slopiewnie" in 1921, marking the beginning of a new phase in his musical style, termed by scholars as "lechitic," a terminology borrowed from linguistics referring to a group of West Slavic languages including Polish.
Szymanowski’s exploration of incorporating Góralen music in his compositions extended to his Mazurkas, op. 50, where he experimented with form, tonality, and rhythm to merge elements of Góralen music with his mature style. He faced challenges in reconciling the differing meters of the Mazurka and Tatran dances, ultimately achieving a harmonious synthesis by pushing the boundaries of phrase symmetry, punctuated rhythms, and rhythmic gestures. The Mazurkas showcase innovative structures and melodies interweaving folklore elements with Szymanowski's distinct musical language.
Szymanowski's composition of the Mazurkas op. 50 presented a unique venture for him, blending elements of Góralen music with his developing style. These works, characterized by their richness and complexity, serve as a testament to Szymanowski's search for a distinctive Polish musical identity.