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CONTENTS
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
PART I: Polish Composers in Context
Charles Bodman Rae: Te Polish musical psyche: From the Second Republic into the
Tird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Adrian Tomas: Locating Polish music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Marek Podhajski: Polish music, Polish composers 19182007 . . . . . . . . . . . . . . . . . . . . 42
Ruth Seehaber: Te construction of a Polish School: Self-perception and foreign per-
ception of Polish contemporary music between 1956 and 1976 . . . . . . . . . . . . . . . . 49
Bogumia Mika: Between a game with a listener and a symbolic referral to tradition:
Musical quotation in Polish art music since 1945 . . . . . . . . . . . . . . . . . . . . . . . . . . 56
David Tompkins: Te Stalinist state as patron: Composers and commissioning in early
Cold War Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Maja Trochimczyk: 1968 Operation Danube, ISCM, and Polish music . . . . . . . . . . . 82
Alicja Jarzbska: Polish music and the problem of the cultural Cold War . . . . . . . . . . . 94
Niall OLoughlin: Panufnik and Polishness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Violetta Kostka: Tadeusz Kassern: Music from his American period . . . . . . . . . . . . . . 113
Barbara Literska: Te commissioned works of Tadeusz Baird . . . . . . . . . . . . . . . . . . . 119
Katarzyna Naliwajek-Mazurek: Pawe Szymaski and the multiple narrative in music . 129
Marta Szoka: Te music of Pawe Mykietyn: In between pastiche, deconstruction and
the great narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Caroline Rae: Dutilleux and Lutosawski: Franco-Polish connections . . . . . . . . . . . . . . 147
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PART II: Analytical perspectives
Beata Bolesawska-Lewandowska: Lutosawskis Second Symphony (1967) and
Greckis Second Symphony (1972): Two concepts of the bipartite late avant-garde
symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Teresa Malecka: Greckis creative journeys between nature and culture: Around the
Copernican Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
Stanisaw Bdkowski: Wojciech Kilars last symphonies: Modication of a paradigm . . 182
Zbigniew Skowron: Lutosawski at the crossroads. Tree Postludes: A reappraisal of their
style and compositional technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Suyun Tang: Lutosawskis tonal architecture as dened by a Schenkerian tonal model . . 206
Aleksandra Bartos: Witold Lutosawskis Portrait of Woman 2000: New aspects of his
compositional technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Amanda Bayley and Neil Heyde: Interpreting indeterminacy: Filming Lutosawskis
String Quartet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Cindy Bylander: Back to the future: Te interaction of form and motive in Pendereckis
middle symphonies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Regina Chopicka: Te St Luke Passion and the Eighth Symphony Lieder der Vergnglich-
keit: Te key works in Pendereckis oeuvre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Tim Rutherford-Johnson: Teological aspects to Pendereckis St Luke Passion . . . . . . . 274
Agnieszka Draus: Infernal and celestial circles in Paradise Lost: Milton and Penderecki 283
Tomasz Kienik: Te musical language of Kazimierz Serocki: Analytical aspects of his
musical output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290
Iwona Lindstedt: Sonoristics and serial thinking: On the distinctive features of works
from the Polish School . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Anna Masowiec: Te sonoristic score: Inside and outside . . . . . . . . . . . . . . . . . . . . . . . 311
PART III: Polish jazz, film music and the marketplace
Zbigniew Granat: Underground roads to new music: Walls, tunnels, and the emergence
of jazz avant-garde in 1960s Poland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Nicholas Reyland: Experiencing agap: Preisner and Kielowskis Tree Colours: Blue . . 338
Renata Pasternak-Mazur: Sacropolo or Sacrum in the marketplace . . . . . . . . . . . . . . . . 348
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361