KAROL SZYMANOWSKI AND THE DICHOTOMY BETWEEN EUROPEAN AND NATIONAL FEATURES OF MUSIC ON THE CUSP OF THE 19TH AND 20TH CENTURIES

Abstract

Objective. The objective of this study is to identify the leading trends of technical and visual changes in the musical arsenal and stylistic reference points of the early twentieth century in the works of K. Szymanowski in the national and universal dimensions. Methodology of research includes the use of retrospective and structural-systemic methods in the analysis of sources; the use of the historical method when studying peculiarities of the development of the traditions of performance and formation of stylistic peculiarities of musical works in the context of the artistic and cultural life of the time of K. Szymanowski. Scientific novelty consists in the identification of evolutionary tendencies of the individual composer's style in the context of the style panorama of artistic and national trends. Conclusions. The artist's distinctive style was formed under the influence of the leading aesthetic tendencies of his time. Not only were his works created under the impression of the interpretation of other composers’ works (F. Chopin, O. Scriabin) or oriental adaptations of H. Bethge's poems, but directly as a result of personal contacts with outstanding artists of his time, under the direct influence of ancient and exotic cultures due to the study of ancient art and philosophical works in numerous cities in Italy and North Africa (Tunisia and Algeria), own field studies of the folklore of Kyiv and Zhytomyr regions (Ukraine) and Podhale (Poland). The system of styles used in his works evolved from post-romantic aesthetic tendencies of decadence, expressionism, secession, impressionism, orientalism and their synthesized varieties, to neoclassicism and neo-folklore. The national aspect of K. Szymanowski's works was based on different levels: mastering and development of the Chopin's tradition both directly and through Scriabin's interpretation, realization of the folklore aspect by means of modern musical language as a counterbalance to the archaic romantic ethnographism of the previous generation, and, ultimately, affirmation of own distinctive composer's style, as a representative component of the evolution of Polish music of the first half of the twentieth century.