Stanislaw and Anna Oswiecim
Symphonic Poem for Orchestra, Op. 10
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Miechyslaw Karlowicz
Stanislaw and Anna Oswiecim
Symphonic Poem for Orchestra, Op. 10
Miechyslaw Karlowicz
Stanislaw and Anna Oswiecim
Symphonic Poem for Orchestra, Op. 10
- Compositor Miechyslaw Karlowicz
- Editorial PWM Edition
- Nº de pedido PWM11509
en stock
plazo de entrega 1-3 días laborables
IVA incluido.,
Más gastos de envío
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Descripción de la:
The genesis of the symphonic poem Stanis?aw and Anna O?wiecim [Stanis?aw i Anna O?wiecimowie] reaches deep into the composer's youth and is shrouded in mystery. Adolf Chybi?ski, the composer's scrupulous biographer, notes that between 9 and 14 February 1893 the Kar?owiczes and their children were in Cracow for the wedding of their daughter Wanda and Zygmunt Wasilewski, when the then sixteen-year-old Mieczys?aw saw Stanis?aw Bergman's painting Stanis?aw O?wi?cim beside the Body of Anna O?wi?cim
[Stanis?aw O?wi?cim przy zw?okach Anny O?wi?cimówny] on display in the Cloth Hall. Bergman, a talented pupil of Jan Matejko, was born in Krosno, where since the seventeenth century the burial crypt of the O?wiecim siblings had stood in the Baroque chapel-mausoleum in the Franciscan church. The subject of a local cult, around the turn of the nineteenth century that crypt became the source of a popular, and thoroughly Romantic, legend of the tragic love between brother and sister. The legend fell on fertile soil in the young Mieczys?aw's psyche. As we know from several people close to the composer - Helena Romer-Ochenkowska, Alina ?widerska and Kazimierz Prószy?ski - Mieczys?aw was extremely fond of his cousin Ludwika ?niadecka; a close acquaintance of the composer, Stanis?aw Szumowski, suggested that this youthful love played a crucial role in the later inspiration of the symphonic poem. The Romantic motif of unrequited love, or of an unhappy or tragic love, appeared already in Kar?owicz's songs, then in his overture to The White Dove [Bia?a go??bka] and his first symphonic poem, Returning Waves [Powracaj?ce fale]. Kar?owicz showed a particular liking for such stories. But was he merely following the fashion of his melancholy, pessimistic times? Certainly not. Such an attitude was undoubtedly fuelled by personal experience and by the composer's mental disposition - his depressive nature and solitude. And so the poem Stanis?aw and Anna O?wiecim is a characteristic example of the musical setting of the Romantic myth of 'unhappy love'; it is a programme work, in which the dramatic narrative is transformed into a finalistic structure of 'an aspiration to eternity'.
[Stanis?aw O?wi?cim przy zw?okach Anny O?wi?cimówny] on display in the Cloth Hall. Bergman, a talented pupil of Jan Matejko, was born in Krosno, where since the seventeenth century the burial crypt of the O?wiecim siblings had stood in the Baroque chapel-mausoleum in the Franciscan church. The subject of a local cult, around the turn of the nineteenth century that crypt became the source of a popular, and thoroughly Romantic, legend of the tragic love between brother and sister. The legend fell on fertile soil in the young Mieczys?aw's psyche. As we know from several people close to the composer - Helena Romer-Ochenkowska, Alina ?widerska and Kazimierz Prószy?ski - Mieczys?aw was extremely fond of his cousin Ludwika ?niadecka; a close acquaintance of the composer, Stanis?aw Szumowski, suggested that this youthful love played a crucial role in the later inspiration of the symphonic poem. The Romantic motif of unrequited love, or of an unhappy or tragic love, appeared already in Kar?owicz's songs, then in his overture to The White Dove [Bia?a go??bka] and his first symphonic poem, Returning Waves [Powracaj?ce fale]. Kar?owicz showed a particular liking for such stories. But was he merely following the fashion of his melancholy, pessimistic times? Certainly not. Such an attitude was undoubtedly fuelled by personal experience and by the composer's mental disposition - his depressive nature and solitude. And so the poem Stanis?aw and Anna O?wiecim is a characteristic example of the musical setting of the Romantic myth of 'unhappy love'; it is a programme work, in which the dramatic narrative is transformed into a finalistic structure of 'an aspiration to eternity'.