Monday, February 26, 2024

Kunst der Fuge, Piano Four Hands at Loyola Marymount, and Endless Motion (Vol. 15, No. 1)


Clouds above California, Photo by Maja Trochimczyk

Everything's different and everything's the same, in an endless dance of time.  I found my old CD of Johann Sebastian Bach's Kunst der Fuge, and enjoy driving around town listening to "always different always the same" masterly constructions in sound -  the famous theme coming in time after time again, higher and lower, straight and inverted, slowed down or breezing by. What an amazing feat of the human mind and imagination. Each section is recorded in a different orchestrations - strings, winds, organ, harpsichord... bring their unique qualities to the music.  

But as I listen and engross myself in the interlocking pattern of heavenly polyphony, I begin to think that something's missing, there is no unpredictability, no improvisation, no ornaments, no pause in this  musical clockwork Universe of perfect order.  So I remember Chopin's love of improvisation and his habit of rewriting pieces when sent to publishers in different countries. This gives modern editors, used to the idea of one definitive text, a huge headache, because these versions or variations are all equally valid and cannot be brought to one common denominator of a single "artwork" that is fixed forever in its repetitive patterns. An informative summary with multiple examples of the "Minute Waltz" in different editions is found on the website Music Universe in Hong Kong:

A comparison of different editions of many Chopin's works is possible on the website of the Chopin Institute in Warsaw: chopin.nifc.pl, for instance Nocturne in G minor, Op. 15, No.  3, associated with the gloominess of Hamlet by many commentators:
 Played by Artur Rubinstein: https://www.youtube.com/watch?v=pTfeTJME7-I

or the Nocturne Op. 27 No. 2 in D-flat Major, one of the most beloved of Chopin's compositions:
Played by Artur Rubinstein: https://www.youtube.com/watch?v=WJ8RVjm49hE

Instead of one definitive edition, both Nocturnes have three "first editions" listed - by M. Schlesinger, (France), Breitkopf-& Hartel (Germany), and Wessel & Co.  (United Kingdom). There are two manuscripts and three scores for each. 

If there had been more "first" editions of these works in Chopin's lifetime, these too would have been different. Just as time flows in one direction, and you cannot enter the same river twice, so is with music - every time Chopin played, he made small changes, introduced new melodic variants, ornaments, chords... Why then, are we so fixated on finding and fixing just one definitive "work of music" that is described in notation to its minute details and changes so little from one performance to the next? 

Just like Chopin kept improvising when playing his Impromptu or Nocturnes, so do birds in their song - especially the master singers of great creativity, the European nightingale and blackbird, and the American mockingbird.  I love spending mornings in the garden in the spring,  when the mockingbirds mark their territory with song. The melodies become artful with variational repetition of short phrases, but their repertory is endless and the joy they bring is endless too. There is nothing more perfect than life-well-lived, and you can live well when you cherish each moment, each second, each impression, each sound.  

Is it only possible to enjoy the fleeting moment while focusing on the ever changing, ever the same melodies of the mockingbird? (The name is so bad, this birds is not "mocking" anyone, just singing his heart out...)

The improvisation is true freedom of creativity, this music does have wings! But what about scores fixed in notes, and painstakingly learned and repeated by human performers? Are they inferior to the divine feathered kind?  They are just different. There is beauty in hearing the same complex work played by different talented interpreters. The joy of being surrounded and permeated by moving waves of sound is as intense in a garden as in a classical music concert. Two conditions: the music is live and it is acoustic, without any artificial electric distortion and amplification. 

Zarebski Duo in concert, 25 February 2024

The Zarebski Piano Duo gave such a concert this Sunday, February 25, 2024, at Murphy Recital Hall of Loyola Marymount University. The concert was truly delightful, with its program perfectly arranged, alternating little-known 19th-century repertoire of virtuosic dances, with contemporary minimalist and surrealist styles of female composers. The rendition of the music was perfect as well, and the whole program full of inspirational moments. 

The genre of "piano-four-hands" was popular in the 19th century, especially for young couples who could flirt while their hands touched and crossed...  I must say I was a bit prejudiced against it, especially after laughing my head off at a Warsaw Autumn performance of Igor Stravinsky's Rite of Spring by a piano-four-hands-duo. It was completely ridiculous, to my ears... The massive, primordial chords of full symphony orchestra feebly imitated on one keyboard. No matter how hard they tried, they failed miserably... 



But yesterday, the Zarebski Piano Duo raised this forgotten genre to new heights in their masterly concert at Loyola Marymount University. Grzegorz Mania and Piotr Rozanski from Krakow presented a fantastic, well-thought-out program with many beautiful pieces, starting from Juliusz Zarebski himself, a revelation! Born in 1854 with a great talent and a short life-span, he died at 31, so did not write much. But what he created is surely a set of masterpieces.  Reverie et Passion op. 5 provided an amazing (I'm overdoing on superlatives here, but it was truly superb and I never heard it before, so ... a double delight!) opening to the program. It converted me from a foe to a fan of "piano-four-hands" as I was able to appreciate the virtuosity and the intensity of sonorous polyphony, whole avalanches of sound spanning the keyboard. The music deeply moved the listeners.  While the melodious and romantic composition evoked the youthful intensity of emotion, it paradoxically made me think of incredibly original, virtuosic pieces by Conlon Nancarrow, Studies for Player Piano contain impossible scales, huge chords, light-speed arpeggios, all played by a pre-programmed machine... What if a transcription was made for two people? Could these pieces be played by pianists as well? I'm always in favor of people over machines...  

The minimalPrelude by Anna Roclawska-Musialczyk (b. 1987), was "minimal" only in its use of a repetitive basic phrase that provided an ostinato of sorts for the whole composition, a bit like Ravel's Bolero. Luckily, its overall form was composed-out with dramatic peaks and moments of tranquility, so it was not as tedious as early minimalism of Steve Reich or John Adams. The music was beautifully laid out in its temporal flow, and gave ample opportunity for both pianists to showcase their talents. 

The author of the next composition, Ignacy Friedman 1882-1948) was a contemporary of the modernist Karol Szymanowski, yet he wrote in the "old-fashion" style of a 19th-century virtuoso. Nonetheless, his Five Waltzes, Op. 51 had memorable melodies and quite a few surprises along the way, reminiscent of Haydn's Surprise Symphony. . . The juxtaposition of this melodious set in traditional dance rhythms with the preceding and following modernist textures made it even more memorable.  Highly recommended! Here a note about Frederick Delius (1862-1934) should be made - he wrote romantic music of heavenly beauty in the era of stark modernism but was and is beloved for it, not condemned because he did not follow some fashion. We should take a second look at Friedman and other virtuosi who created such beautiful music, so rarely heard!

Hanna Kulenty at Disney Hall in Los Angeles, 2022

Having been friends with Hanna Kulenty (b. 1961) since the college years at the  Chopin Academy of Music in Warsaw (now Chopin University of Music), and having spent many hours listening to her piano improvisations and concerts, I could tell the next composition Van of 2014 was hers after the first few phrases. She is among the unique contemporary composers that created their own, personal harmonic language, some of which she had revealed during her lecture of students at the Chopin Academy of Roza Kostrzewska Yoder and Douglas Yoder in Los Angeles during her visit in October 2022.  (At that time she was the feature of Paderewski Lecture-Recital organized by USC Polish Music Center).  The secret was using bi-tonality keyed a second apart, plus "dominant-ninth" chord structures - if I remember correctly. Do not quote me, if I do not. Let her musical language remain hers.  

Already in college, Hanna Kulenty developed the "polyphony of arc" - composing music from interlocking arcs of sound that appeared and disappeared at times, in a modern version of the polyphony of melodies we hear in Bach's Kunst der Fuge...  These "arc"-based textures contrasted several melodic, harmonic, textural "lines" of music that were  seemingly going on forever, but only occasionally were audible to the audience. It was their sudden appearance and disappearance that gave the music direction and created the patterns of expectation and fulfilment or disappointment that is key to listening to classical music. (As per the authoritative text of Leonard B Meyer, Emotion and Meaning in Music).  While working on her doctorate and "habilitation" (the second academic degree beyond the doctorate in the European system), Hanna's interest moved on beyond lines of harmonic-rhythmic patterns into juxtaposing whole dimensions of time, that is slowing down or accelerating, waxing and waning. Here whole musical universes evolve and collide. Her most recent iteration of style is called "surrealist music" - and it indeed sounds surreal when the whole orchestra slowly grinds to a halt, or slides downwards in a massive glissando taking the audience on an unpredictable ride into the unknown. 

In introducing Kulenty's Van, the musicians spoke of Hanna's interest in visual arts, and treating music as a kind of "audible sculpture."  Yes, and no,  I think that the multi-dimensional music of Kulenty is focused on the multiplicity of simultaneous "times" rather than the solidity of sculptures. Her Van gave a taste of her ability to sculpture multiple time layers into a coherent and engaging whole. The musicians rendered her sound world perfectly and drew the audience in so much so that it erupted in a fervent applause after the piece ended. 

While thinking of music as sculpture, let me quote the famous poem by Rainer Maria Rilke "An die Musik" that perfectly encapsulates the concept of musical work as a "sound sculpture" forever fixed in time through its notation.  In hearing Kulenty interpreted by the Zarebski Duo, we were privileged to enter into such a heavenly sound artifice. 

TO MUSIC

Music: breathing of statues.  Possibly:
stillness in pictures.  Speech where speech
ends.  Time upright and poised
upon the coastline of our passions. 

Feelings for whom?  You are the transformation
of all feeling into – what?  . . . audible landscape.
You stranger: music.  Heart’s space
that’s outgrown us.  Innermost us
which it’s scaled, surmounted, gone beyond
into holiest absence:
where what’s within surrounds us
the way the most skillful horizon does,
or the other side of the air,
pure,
immense,
no longer lived in. 

           ---- Rainer Maria Rilke, translated by William H. Gass

A fascinating commentary on this poem may be found on the blog Poetry Letters of Huck Gutman, https://www.huckgutman.com/rainer-maria-rilke-to-music.  

Sierra Mountains from the air, by Maja Trochimczyk

The balance of the program was more entertaining and more "salon-style" than the masterly segment from Zarebski to Kulenty that consisted of a series of masterpieces, all first rate... In contrast the remainder of the concert featured music that was pleasing but somewhat "second rate."  This reminded me of my favorite quote from a poem on artistic quality by e.e.cummings, where the distance from first to second was enormous, and much larger than the following distance from second to tenth... Alas, I cannot find this poem, now that i need it... 

 Alexander Tansman's En tournant la T.S.F. (1951) is a series of cute miniatures musically representing different countries one could hear when turning the knob on the radio and listening to music from around the world. We were graced with a visit to France, England, Poland and Hungary if I'm not mistaken. A trip to Venice, with its lilting Barcarolle rhythm, provided an encore for the whole concert. Pleasing and lovely pastiches of stereotypical "national" characteristics, these miniatures were a tad too stereotypical to be truly visionary like Friedman's Waltzes heard earlier. These pieces were written for children, so they have their merits. To my taste, they were a bit too "trite" for a serious concert. Tansman was prolific and his oeuvre includes masterpieces and works of merely utilitarian or pedagogical value. 

Katarzyna Kwiecien-Dlugosz (b. 1978) wrote a set of Seven Aphorisms for Piano 4-hands entitled Cinderella and dedicated to characters from the fairy-tale. We heard the vicious step-mother and the fairy Godmother along with Prince Charming, and ended the exploration of the tale with the "Glass Slipper." According to the musicians, the "Glass Slipper" with its delicate shiny textures was their favorite. For the audience, however, the villain, as often, won the contest, presenting the most interesting and rich array of harmonies, dissonances, and aggressive rhythms.  We heard four "Aphorisms" and it would have made more sense to this listener at least, to skip Tansman entirely, and play all of Kwiecien-Dlugosz's composition. As it ended with the "slipper" and did not even allow Cinderella herself to sing her song, it was somewhat disappointing in presentation.  

Piotr Rozanski, Prof. Wojciech Kocyan, Grzegorz Mania

The final three works, Polonaise, Valse and Hungarian Dance, Op. 11 by Maurycy Moszkowski (1954-1928) showcased the virtuosity and collaborative talents of both pianists in a late 19th-century set, relying again, like Tansman, on national stereotypes and dance types.  I would not compare Moszkowski's Polonaise with Chopin's; not in the same league. However, as a lively and energizing conclusion to the concert, it felt just right.  

My tinge of disappointment with the second half of the program appeared later, when I reflected on the concert while driving back and listening again to Bach's "heavenly sewing-machine"  of Kunst der Fuge.  While at Loyola, I thoroughly enjoyed the entire program alternating 19th century classics with minimalist and surrealist modern pieces. At the concert, nothing was out of place. Perfection itself! This also may be the choice of the musicians, to present more difficult, original and intense music first, and end with light-weight fare, so as to not overwhelm the perceptive faculties of the listeners.

Many thanks and hats off to the two gentlemen from the Zarebski Duo for their courage and dedication in resurrecting and bringing back to concert halls a forgotten repertoire of romantic and late romantic Polish music. Bravo! 

The audience included quite a number of Modjeska Club members and the concert was organized jointly by our member, LMU Prof. Wojciech Kocyan, and Polish Music Center at USC. One of the listeners, Prof. Targowski, wrote his own mini-review in bullet points, since he is a computer scientist recognized for his analytical mind. Below is his summary of this performance (translated into English):

"It was great music, brilliantly performed.  To me, a musical layman, it reminded me a bit of Chipina, of course not in relation to the nocturnes.  
  • Technique: playing all notes with precision, perfect clarity of sound, balance between two musicians, as well as velocity and dynamic differentiation.
  • Cooperation and coordination: the musicians maintained balance and  synchronization, especially in difficult moments.
  • Engagement of listeners (especially me and my wife Irmina) in their performance. I think they had a shared musical vision.
  • Dynamics: the musicians could appropriately express differences between forte and piano, crescendo and decrescendo.
  • Sound balance: both hands had equal contributions to the overall sonorities. Both musicians brought out the full sound range of the piano.
  • Repertoire and difficulty of the piece: good selection and meeting technical challenges.
  • Overall impression: The performance was convincing, gripping and memorable."

Maja Trochimczyk, Wojciech Kocyan, Wanda Presburger of the Modjeska Club.

Now that I thought of audible landscapes and sound sculptures, I thought of the living paintings done with computer assistance (called AI, but should be called "plagiarism software")  by Turkish digital artist Rafik Anadol. I loved his imagery of evolving California landscapes so much that I wrote a series of poems about them: https://poetrylaurels.blogspot.com/2023/05/rafik-amadols-living-paintings.html


California landscape living painting by Rafik Anadol.
 

After a Visit to an Art Gallery


In a hall of Rafik Anadol's living paintings

the Universe breathes and moves

mountain ranges rise and fall

oceans clash and dance


If I could live a million or a billion years 

that's how I'd see the Earth - rising and falling - 

a sea morphs into a lake shrouded in mists, 

becomes the bottom of a mountain valley, 

a melting glacier among snow-covered peaks, 

under a cluster of alien stars.  


Living, breathing matter folds itself into itself,

twists and changes. The patterns, 

pulled by invisible strings of constellations, 

form and re-organize themselves in waves 

upon waves of revealed, transient beauty.


Ah, so that's what it was, that's what it is. 

Nothing's fixed. There is no ground under our feet.

Everything is fluid. Only the endless motion.   


(c) 2023 by Maja Trochimczyk




Friday, November 10, 2023

Polish Refugees Surviving Global Politics (Vol. 14, No. 4)


At the time of Thanksgiving we think of things we are thankful for. Let's start from a positive lesson and some advice...

A Starchild’s Lesson

I found the Philosopher’s Stone. 
Transmogrification.
Fear into Love. The lead of sorrow
into the pure gold of childlike laughter. 
There is no other alchemy, but this.

“Shine”— said the Voice.
“Be fruitful”—Someone wrote
in the Great Book for all ages. 
Even if half true, it is true enough.

Listen. Do not stray from your path. 
You know what lies ahead —
past a frozen meadow of snowdrops and sasanki, 
white and violet, glowing with innocence
 in a forest clearing —

past peach orchards, misty with blizzards
of falling petals —past lakes of blooming lotus, 
patiently stretching from mud to the Sun — 
past golden fields of rye, ready for harvest,
to make bread for the journey—

Open the parasol of ancient wisdom above you — 
for shelter, as you walk into the embrace of your destiny
and shine — shine — shine —

NOTE: Sasanka, plural sasanki is a Polish name of a spring wildflower called Pulsatilla or Pasqueflower from genus Anemone.

(c) Maja Trochimczyk, published in "Crystal Fire: Poems of Joy and Wisdom" (2022)

Cemetery in Trzebieszow, May 2023

Polish survivors of WWII and their families have lots of reasons for gratitude. Many of these reasons were suppressed in the media in the 50 years after the war ended, when Polish People's Republic was a Soviet satellite state and actively concealed proof of Soviet crimes against Poles and Poland.  So... let me recall some family facts....

Poland first fought with the Soviet Union in 1920 when Soviets invaded the newly reborn Second Polish Republic after 123 years of partitions (when the country was split between Russia, Prussia and Austria, the latter the most tolerant). Poland was recreated in WWI Peace Treaty of 1918, signed on 11 November, Poland's Independence Day - the patriot, pianist and composer Ignacy Jan Paderewski was the signatory. He later became Poland's Prime Minister. In 1920, the Soviet troops went all the way to Warsaw on their way to conquer Europe, but "A Miracle on the Vistula" took place, while all citizens fought back and the Red Army was defeated and sent back.  I talked about Paderewski and Poland's Independence here:

https://chopinwithcherries.blogspot.com/2018/10/paderewski-100-years-of-polands.html

My grandfather Stanislaw Wajszczuk fought in WWI. During the revolution in Russia, he was a  conscript to the White Army and participated in battles in St. Petersburg; he saw blood flowing down the streets, unspeakable atrocities. Then, his brigade was sent to the Western front to fight against German troops. He was caught by Germans and imprisoned in Dachau, until he escaped with help from a prison commander's daughter. Two decades later, his brother, Feliks Wajszczuk, a Catholic priest, was imprisoned also by Germans and also in Dachau (1940-1945); subject to medical experiments on lung capacity, he barely survived. 

In 1917, Marshal Jozef Pilsudski started forming his Legions to liberate Poland. No longer a German Prisoner of War, my Grandpa joined the Legions and fought with them to liberate Poland.  Thus, I can say that mine is a "Pilsudczyk" family. I did not know about this for decades, just that my Mom taught me to sing the Legionnaires' songs, and that she had a portrait of Marshal Pilsudski on her living room wall. Knowing these facts as a student in the Polish People's Republic was dangerous for the family; I could have disclosed it accidentally at school...

Father Feliks (Felix) Wajszczuk's letters to his mother Jozefa from Dachau Concentration Camp. Prisoner Number 22732,  HIs cousin Father Karol Leonard Wajszczuk (Karl, 1887-1942) died in Dachau, Prisoner Number 22572

Fast forward to 1939, my Grandpa was in Baranowicze (now in Belarus), working for the Polish railroads and the radio station. By that time, he was already married, with two children. When Soviets struck a secret deal with Nazi Germany and invaded Poland on 17 September 1939 he went into hiding. Another former Polish soldier, Uncle Glinski was shot in the street by NKVD, his widow, Ciocia Tonia (Antonina) was arrested the next day with two sons and deported to Siberia, where one son died. I talked about some of these stories here: 

https://chopinwithcherries.blogspot.com/2021/01/portraits-of-survivors-babcia-prababcia.html

In total, over 1 million Poles were deported by Soviets to Siberia or Kazakhstan. While parents often perished, orphaned children survived. Deportations of Poles from then-Polish lands of modern Ukraine and Belarus (it was all part of Polish Lithuanian Commonwealth since 1364)  started already in 1937. These were not random acts of terror, but a full scale pre-planned campaign of ethnic cleansing removing Polish residents from formerly Polish lands, some incorporated into the Russia in 1918, the rest taken over by Soviet Union after 1945. (In the Ukraine about 200,000 Poles were murdered by UPA Ukrainian Nationalists during WWII; I know children of survivors, living here in California). My mother's aunt and uncle were among the Polish deportee orphans in Siberia, their parents perished of hunger and disease.

Grandfather Stanislaw Wajszczuk and Grandmother Maria Anna Wajszczuk, nee Wasiuk

But my grandparents were lucky. They were not deported. In 1939, my grandparents and mother made it through the border from Soviet-occupied Baranowicze to German-occupied Poland. Their destination was my Grandpa's ancestral village where they lived out the rest of the war. 20 people slept in a two-bedroom house, this ordeal lasted for 4 years, food was scarce. During the illegal border crossing, a German soldier took all their valuables - gold coins and jewelry and gave them a receipt. My Aunt Barbara framed it later, since post-war Germany refused to honor it and return what was stolen. Maybe the receipt was fake and the soldier pocketed the gains. Who knows... In any case, the Soviets did not pay reparations either - and they owed a lot, for the lost house, as well as estates of other members of extended family... 

https://chopinwithcherries.blogspot.com/2022/09/remembering-polish-war-anniversaries.html

The house of survivors in Trzebieszow

After the British and Americans struck a deal with Stalin to take over Eastern Europe after WWII, a secret deal made in Teheran in 1943 and sealed in Yalta in 1945 (a deal that nobody knew about until  the takeovers started), Gen. Wladyslaw Anders was allowed to take out imprisoned soldiers from the Soviet camps, in order to form the Polish Second Corps. The soldiers were allowed to take their families with them, while orphaned children were allowed to leave as well, cared for by the Red Cross. Orphaned Irena (my mom's Aunt) went with the troops to Iran, where the refugees were divided and sent to other camps. Irena went with the Red Cross through Switzerland to Chicago, where she later married and had a family. About 220,000 people were saved by Gen. Anders.  They dispersed around the world.

≡ SHAMBHALA ≡

Do children who die on the way
carry bejeweled parasols in a Tibetan heaven?

Is Siberia too far from Shambhala
for the bedraggled orphans to enter through
its golden doorways, glistening with ten thousand
ornaments, treasures from a galaxy with ten billion suns?

Are they too sick and dirty to walk on a shining path
made for the birth of the Buddha — scented
with sandalwood, adorned with an unsurpassed
multitude of rarest gems.

When the Buddha was born, the Earth
moved six ways, the wise man said.

Did it move at least once to mark your passage?

When you rolled in pain and moaned
until the blessed moment of relief?
Gave up your last breath like a crystal question mark
in a frozen Siberian air? Convulsed
in a sudden burst of gunfire, a bullet straight
through your heart? Froze to death in a convoy?
Fainted on the floor of a railroad car?

There was no hooting of owls, they say,
when the great Shakyamuni Buddha
was born. Sweet sounding music floated 
through a myriad of flowering orchards,
filled with a rainbow of gemstone trees.

Did you hear an owl hoot when you died?

Oh, hungry child of gulags, the lost child
of Siberia — Did the Earth move?

Were there parasols, or owls?

(C) 2021 by Maja Trochimczyk, published in The Rainy Bread: New Poems from Exile (2021)


https://culture.pl/en/article/the-maharaja-who-saved-hundreds-of-polish-orphans

https://www.youtube.com/watch?v=6xAdW1gIN4E (interview with one of the orphans from India)

The 1000 children who went to India and were saved by the Maharajah, had an interesting teacher with them. Poland's most famous pop singer and movie star Hanka Ordonowna, who went to India as their teacher and counselor, and wrote a great book of horror stories told to her by the children survivors, starving, ill, and covered with lice when she met them. It was such a blessing for her and for the children to encounter a real saint, the Indian Maharajah, with such generosity and love. 

After a performance, Polish orphans with the Maharajah in India, Wikimedia Commmons.

https://www.youtube.com/watch?v=OYkFiUsEQ8U - Ordonka sings "Love will forgive you everything..." 

Ordonka's greatest hit "Love will forgive you everything" was named Poland's no. 1 song 50 years after the war. Its composer Henryk Warszawski, known in California as Henry Vars, was a soldier in Anders' army, a Polish-Jewish musician who after surviving the war, established a film-composer career here. Its poet, Julian Tuwim, was also Polish-Jewish and survived the war in South America, he wrote some of the greatest poems of Polish language and was enticed to return to post-war Poland, but died in 1953 without publishing much except of Poland's most famous and beloved children's verse, I still know two of these poems by heart. I wrote a poem for Ordonka, in my "Rainy Bread" book, second expanded version:

https://poetrylaurels.blogspot.com/2021/04/new-e-book-edition-of-rainy-bread-poems.html

Hanna Ordonowna, Wikimedia commons

More poems from the second edition of the book are here:

https://poetrylaurels.blogspot.com/2021/10/trochimczyks-rainy-bread-more-poems.html

Poles in California had among them some survivors from Anders's Army orphans and soldiers, poet Kazimierz Cybulski among them. He went through Iran, though, and then was sent to Uganda where he was in a refugee camp for several years. After the war, over 120,000 soldiers went to England, where they lived in refugee camps closed only in the 1960s. Britain did not want them to live there, just to fight for them. They were gradually sent out to all parts of the British Empire. Many went to Canada and Australia, some were allowed to immigrate to the U.S.  I found Cybulski's obituary online, albeit in Polish, he was a Polish-language poet: https://www.zppno.org/aktualnosci/kazimierz-cybulski-nie-zyje/

I did not write about him, but I commemorated the deportations with a poem published in the expanded version of The Rainy Bread: New Poems from Exile (2021).

≡ OF TRAINS AND TEA ≡

I remember trains and horse-drawn wagons –
being all cooped up in a pile of blankets.
Was it so far? Were we going in circles?

Давайте, пойдем — Xорошо, хорошо


Yes, I remember the hypnotic noise
of train wheels on the railroad tracks.
Piercing, repetitive, permeating your body
and echoing in your brain. To the border,
two days waiting, then a different patter
of Russian, broader tracks.

It was dark and cold and I was afraid.

Yes, I was, too. I did not know where
we were going, what dark hut was destined
to be our home for who knows how many years.

The road there was so long.
Stopping and starting.
As if to never end.

The sad train whistle, the calls
of the guards, that’s what’s real now —
as they sit, sipping tea out of fine bone china
on the patio scented with orange blossoms
of the glorious California spring.

Мы готовы — давайте —
xорошо, хорошо —

(c) by Maja Trochimczyk, published in "The Rainy Bread: New Poems from Exile" 2021

Polish sky in May 2023

After the war ended, Poland was denied the right to participate in the Victory Parade in 1945. All stories of refugees and survivors were suppressed - like the stories during the war of trains of refugees and orphans going through the U.S. to Mexico, where in Santa Rosa camp over 3000 survivors lived. (trains had blacked out windows, and moved at night to not be seen by Americans, Stalin was the good guy for them then, on covers of magazines!). They continued write about what they remembered: here are some poems by Alexander Janta Polczynski, published in England:

https://chopinwithcherries.blogspot.com/2018/08/from-13-polish-psalms-by-alexander.html

Polish government in exile in London continued to be active, though not recognized by Allies until 1989 when it dissolved; these same Allies betrayed their agreements to defend Poland in 1939. Survivors had no home to return to. After 1944, when Polish People's Republic was formed by Soviets, a puppet government was installed. Polish People's Republic in its first ten years during the Stalinist regime of Boleslaw Bierut murdered and imprisoned thousands of survivors of the Home Army, and especially soldiers and leaders of the Second Polish Republic. 

Meanwhile, deportations from former Polish lands took the rest of 3-4.5 million of Polish inhabitants from what is now Belarus, Lithuania and Ukraine to former German lands of Silesia and Pomerania that were given to Poland in the Stalin-Churchill-Roosevelt deal. These lands were emptied of German residents. I know a German music historian Martina Homma who was kicked out of Gdansk, her family had 24 hours to leave, and settled in Cologne.  This "you have 24 hours to pack" was a mantra of new rulers everywhere...A California poet Dorothy Skiles was just 2 when Soviets went through Berlin and raped every woman, while men in her family died in Wehrmacht on the Eastern front. She gave copies of my poems about war experiences of my extended family to her sons and grandsons, offspring of German Wehrmacht soldiers. We should all know and learn from the past. 

Polish Diaspora in the world. Dark red: over 10 million, red, over 1 million, dark pink: over 100 thounsand, light pink: over 10 thousand. Wikimedia Commons.

The Polish refugee camps everywhere were clean, tidy, well organized and taken care of. Poles immediately formed Polish schools, each little barrack had a veggie garden and a flower garden, there were social groups, dance groups, theater groups, choirs, and such. Churches as well, they were mostly Catholics in these camps. I want to publish Hanka Ordonowna  memoirs in English translation, amazing stories. Alas, she died in Beirut, was too sick after the gulag camps in Siberia and never fully recovered.

Eugeniusz Bodo, actor, Wikimedia commons.

Another famous actor Eugeniusz Bodo died in the Soviet gulag. But an amazing painter Julian Stanczak survived, though lost the use of his right hand, paralyzed after beating in the camp. He became a painter instead of a cellist that he wanted to be. He learned to draw with left hand in a camp in Uganda, then came to the U.S. He was a very well known Op-Art painter in the mid-West. Died in 2017. 

Eugeniusz Bodo, prisoner in Soviet gulag, Wikimedia commons

War is a beast, so we should be all against all wars, and favor peace, and help others. In recent wars, Poles took in refugees from the Ukraine, I sent money to a friend who took in a mother with daughter to his small apartment, where he lived with his wife and baby. His grandfather was also kicked out of the Ukraine, maybe that woman was an offspring of the perpetrators? Who knows, she or her child were not guilty, and the best way to stop wars is by forgiveness and generosity. 

Julian Stanczak in 2013 with one of his paintings, Wikimedia Commons

If everyone did as they should, and followed the example of the "Good Maharajah" the world would have been so much better. But then, the survivors and refugees should have behaved like Poles did in those camps, work, be grateful, and build a new, peaceful world. Stanczak,  Cybulski, Vars, and other immigrants to America have done it in the New World. They successfully created new identities for themselves and contributed to the culture of their new country. 

Now, that so many global agencies and corporations seek to destroy "nation-states" and erase or cancel the multitude of distinct identities - linguistic and cultural - of nations around the world, it is even more important to remember and support cultural diversity of these nations. In my case, it means remembering the achievements, resilience, and honor of the Polish nation. 

Polish Americans have two Independence Days to celebrate, two languages to learn, two national anthems to sing. Not 195 Independence Days of all the world's countries. Not all 160+ languages, cultures, and traditions of all the world's residents. It is impossible to open borders and accept as equal all the different nationalities without creating for them a standard and a model to accept. Here, the language is English, the Independence Day is on 4 July, the Pledge of Allegiance defines "one nation" - that all the newcomers belong to. All the Displaced Persons of Stanczak's generation or Solidarity-era emigres of my generation, are free in the U.S. to learn Polish and study Polish history and culture. All are free in our "land of the free" where we do not forget our roots, while becoming Americans of double identities. 

More on Poland's Independence and patriotism of Poles:

I think it would be best to finish this story with a positive poem that fits the theme of Thanksgiving: 

LIKE GRAPES ON A VINE

   —we grow and grow. 

Nourished by gold light 

and sapphire water, 

we become sweeter as we age. 

Last traces of bitterness 

and resentment dissolve

 into forgiveness.

 

Yes, it was a long road.

Yes, it was hard.

But we are here.

Grapes on the vine.

 

I’m kind to myself, kind to others, 

kind to the world. I listen.

 

All grains of sand on the beach, 

all dancing droplets in the ocean,

the salty mist on my lips sing 

the song of creation. Such a joy to be. 


Present. Attentive—

to the sparkling pathway 

of sunlight leading beyond the horizon— 

to the relentless rhythm of the waves 

crushing all worry into smithereens.

 

Out flows my pain.

Out goes my sorrow.

In flows my peace.

In comes my gladness.

 

Like the ripening grapes on the vine 

we become sweeter as we age.




(c) Maja Trochimczyk, published in "Crystal Fire: Poems of Joy and Wisdom" anthology in 2022






Sunday, August 20, 2023

What is Music? An Essay Just Because... (Vol. 14, No. 3)

Bell at Mission San Juan Capistrano, photo by Maja Trochimczyk

What is music? Depends on who, depends on where. When the composer and violinist Grażyna Bacewicz (1909-1969) went to India in 1956 with the government delegation of the Polish People's Republic to perform Karol Szymanowski's beautiful violin works, the audience expressed some disapproval after particularly beautiful phrases, much to the concern of the performers. [1] It turned out after the concert that the listeners had a grudge against the musicians, because they did not repeat to them, in new variants, such beautiful and lavishly praised phrases, melodies, motifs... 

Karol Szymanowski, The Spring of Arethusa from Myths Op. 30, played by Mark Andre Hamelin and Lara St. John: https://www.youtube.com/watch?v=k55EIS4nlJs

Here, the European concept of a "musical work" with the dimensions of a sculpture fixed in sound and time as if in stone, which the philosopher and art phenomenologist Roman Ingarden described in detail, collided with the Indian concept of improvised music, always different, flowing like waves, accelerating and slowing down with the flow of "lived time," thus able to extend a moment, and allow the listeners to enjoy its charm... Recall Rainer Maria Rilke's (1875-1926) poem "To Music," where a European musical work, a marble sculpture made of sound and time (excerpt):

"Music: / the breath of the statues. / 

Maybe: /silence of images./ 

You speech, where speech ceases. / /

Time that you stand upright / 

in the way of disappearing hearts. / Feelings to whom? / /

Oh, you feelings / transformation into what? /

 Into an audible landscape? / You foreign land: music."

Already in the first verse, the proximity of the dynamic and fluid music to the stone sculpture is striking. Here, time has stopped on the border of abstract feelings, transferred to the plane of universally audible soundscapes. Let us recall that in the Western European tradition of "serious" music, composers recorded their musical visions as precisely as possible in scores, full of signs, not only rhythmic and melic, but also expressive, dramatic, timbral... and even the location of musicians in space, as in Persephassa (1969 ) by Iannis Xenakis, where the drummers enveloped the audience in a liquid magma of percussive tremolos and glissandi.[2]

Iannis Xenakis: Persephassa for Six Percussionists: https://www.youtube.com/watch?v=osw8Cr58cXs

The musical vision recorded in such a precise way, divided into voices, was then interpreted by musicians who passed on traditions about performance practice and interpretation conventions to each other for generations. [3] The notation allowed the musicians some room for originality and individualism, but there was no possibility of introducing variations and repeating favorite phrases ...as  expected in Szymanowski's The Spring of Aretusa heard in India ...

The Western tendency to record and permanently record one perfect version of a "musical work" eventually led to its evolution to record, in the form of analog or digital recordings, works perfectly fixed for eternity. It started with classical music, but this departure from the co-creation of "live" and "improvisational" music was perfected especially by popular music, composed once and for all in one recording, which could no longer be interpreted or changed in any way. The voices of the performers, the details of additional sounds "sampled" and digitally processed - merged into one, unchanging whole of the once and for all fixed artefact.

 Five pianists play the Chopin Berceuse in D-flat Major, Op. 57 (Michelangeli, Rubinstein, Moravec, Ashkenazy, Pollini)  https://www.youtube.com/watch?v=TGXXLaO0Ke4

One could only listen to such recordings passively - becoming recipients of a one-meaning and one-way message. The multipolarity of the "aesthetic experience" linking the composer with the performer and the listener, as postulated by Roman Ingarden, has disappeared.[4]  Such petrified music could neither be interpreted nor co-created. Although we must be grateful for preserving the great voices of Ella Fitzgerald (1917-1996) and Patsy Cline (1931-1963) for history. The greatest of these recorded tracks are integrated LPs of rock bands like The Beatles, Pink Floyd, or Queen with the memorable Bohemian Rhapsody... captured in perfection of unique voices and sonic details for an eternal keepsake. Unfortunately, recently, at a few "classical" concerts, I heard transcriptions of this Rhapsody for solo cello or harp, poorly evoking distant echoes of Freddy Mercury's extraordinary voice. This is how "serious" musicians become "frivolous" in the pursuit of fame and audience.

Queen, Bohemian Rhapsody (original video): https://www.youtube.com/watch?v=fJ9rUzIMcZQ

This brings to mind Roland Barthes' famous reflection on "the grain of the voice" ("le grain de la voix") from 1972, although understood and interpreted in many ways, in each version talking about the role of an individual, unique embodiment of the voice, which color and roughness adds more and more meanings to the fixed text. As Anne Kauppala stated in 2020, [5] here the concepts of connotation and denotation, geno-singing and pheno-singing, and multi-layered semiotic word-conceptual games collide - let me just add that they lead readers and researchers to intellectual spheres very distant from the physical embodiment of the voice, sound, music...

As Anna Szlagowska wrote in the article "Modernist dialogue between poetry and music in the works of Rilke", the poet believed in the theory of correspondence of arts, which had been described earlier by Baudelaire or E.T.A. Hoffman. [6] The correspondence of the arts was only one dimension of understanding the whole world as a unity, a harmonious cosmos-universe, which is indivisible and always divine, without the possibility of separating the spheres of the sacred and the profane. In such a sphere, where God is everywhere, everything is Divine, or to be precise, there is nothing that is not God - as Benedict Spinoza (1632-1677) proved in his monumental treatise on mathematics, logic, theology and philosophy, hidden under the title Ethics (1677, Ethica ordine geometrico demonstrata).

Music is the Cosmos and the Cosmos is music. So we return to the music of the spheres and cosmic harmony. Music is even where it is not heard... because, as Johannes Kepler (1571-1630) calculated in Harmonica Mundi (1616), all planets and the sun, moving in their orbits and circling in space, are elements of cosmic and harmonious music. "Musica Universalis" is known to us as the music of the spheres. [https://www.sensorystudies.org/picture-gallery/spheres_image/]

As observed by Kepler, an excellent astronomer and astrologer, supporter and promoter of the heliocentric Copernican theory, the entire solar system is a gigantic choir that has been singing beautiful chords since its inception, in which the Sun and Jupiter are basses, Mars is a tenor, Venus and Earth are altos, and Mercury is a soprano, resonating in perfect harmony from the beginning of creation... Thus, musical vocal polyphony - says Kepler - this unique invention of Western culture - is an ideal reflection of such cosmic harmony, shortening eternity to an hour... Let's listen to the Palestrina Mass, the Offertories or the Magnificat of Mikołaj Zieleński.

Palestrina, Missa Papae Marcelli, by Tallis Scholars:  https://www.youtube.com/watch?v=BRfF7W4El60

Mikolaj Zielenski, Viderunt Omnes:  https://www.youtube.com/watch?v=UIaXGt-Xvj8

Mikolaj Zielenski, Magnificat for three choirs, played with instruments:  https://www.youtube.com/watch?v=paT4ReAHimE

Such music, as Rilke wrote, is "another side of the air, / pure, vast, / no longer inhabitable." Although Kepler's calculations were not accurate and oversimplified the shape of the orbits, velocities and the pitches of the planets he postulated, it is worth recalling his theory at a time when the world's music disintegrated into thousands of dialects and languages, like humanity in the Tower of Babel. At the same time, European music lost its heavenly harmony of Renaissance and Baroque polyphony - after the introduction of more and more instruments, tuned more and more "evenly." In the chromatic division of the octave into 12 equal semitones, pure and beautiful fifths and fourths were lost, thirds became out of tune... And so, step by step, from Bach's Das Wohltemperierte Klavier (fugues and preludes composed from 1722), we moved further and further away from the pure harmony of resonating strings or columns of air, studied since the time of Pythagoras. Today you can listen to such beautifully tuned voices at a capella concerts of early music and even "barbershop" concerts of women's choirs in the "Sweet Adeline" style popular among American women - where 120 women aged 20 to 70 sing with great joy beautifully even, saturated and harmonized chord arrangements of songs from the swing era, "Fly me to the moon..."

There are no recordings that can mimic that experience, so let's listen to Frank Sinatra singing Fly Me to the Moon, instead, "the grain in the voice..." https://www.youtube.com/watch?v=ZEcqHA7dbwM

Before we swing to the moon, let's remember when the attack on music as the harmony of the Cosmos, and the harmony of man in the Cosmos, led to the global crisis of "serious" music and its disintegration, and dethronement in favor of digitally and mass-produced entertainment. Since I have little space for my reflections, let me simplify this story to three elements:

 a) replacing the natural, "pure" harmony with a chromatic tuning, in which all keys sound equally impure, but you can have great fun with the transitions from key to key; 

b) replacing beautiful, deeply resonating consonances resounding in space and in the bodies of musicians and listeners with a dense mass of rapidly changing and increasingly sharper dissonances; 

c) replacing participation in the creation of the human Cosmos in the Cosmos of the universe by jointly performing and singing harmonious music, passive listening to other people's recordings, in isolating the private space of headphones, the space of the "head."


From Wikimedia Commons: By Hyacinth, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27409040

During its evolution towards Schoenberg's dodecaphony, recognized by Theodore Adorno and other German aestheticians as the apogee and teleological goal of the development of European music, relentlessly striving towards its peak, classical music moved further and further away from its roots in modality and tonality. Its foundation of remembering throughout the work about the "center" or base in the form of a tonic, affirmed by departures and returns, dissonances and their resolutions. The “decentralized” dodecaphony was created during the First World War and triumphed throughout the world of Western culture – the culture of choirs and symphony orchestras, string quartets and piano recitals – after the Second World War. Not by accident, but on purpose to reflect the tragedy and chaos of both anti-human, murderous wars in its inherently chaotic and anti-humanist format. 

Chart showing distance of equal temperament notes from their natural, "pythagorean" equivalents, up -higher, down - lover, and red circles notes that are the same  - only octaves. From: https://www.miltonline.com/2015/07/12/harmonic-series-vs-12-tone-equal-temperament/

We remember the experiments of Boulez and Stockhausen, we remember the shock of Warsaw Autumn Festivals' dissonances - Penderecki, early Górecki, Szalonek. However, already in the 1970s of the last century, composers got tired of tormenting the audience and musicians so much - Górecki wrote the Third Symphony of Sorrowful Songs, Aarvo Part - the Passion, American minimalists returned to the basics of rhythm and repetition. Away from dissonances that make your ears hurt. Fortunately, composers like John Tavener (1943-2013), Morten Lauridsen (born 1943) or Eric Whiteacre (born 1950) started to write consonant music that can be sung again... Or played with joy, like the surreal music of Hanna Kulenty (born 1961).

Second Movement from Gorecki's Third Symphony, by Dawn Upshaw and London Sinfonietta: https://www.youtube.com/watch?v=BVVlSGSVjjw&list=RDBVVlSGSVjjw&start_radio=1

Unfortunately, the avant-garde and experimental artists of the 1950s and 1970s went further - after rejecting tonality and consonance as the basis of musical matter, they also rejected the very concept of a "musical work", stating how John Cage in his conceptual and extremely destructive vicious circle (circulus in probando), created from a misunderstanding of Buddhism that music is anything that a musician does, while a musician is someone who produces music! So everything is music, and thus, nothing is music. Reductio ad absurdum. Instead of becoming the avant-garde of the musical army, this stray, self-important and deluded movement ended up on the sidelines of history, nurtured in the greenhouses of academic composition departments by lovers of chaos and originality at all costs.

It is good that the fashion for Cage and his imitators did not last too long and composers returned to writing music suitable for both playing and listening. Only that this episode of composers' wandering astray into dodecophanic dissonances and absurd happenings caused the audience to move away from classical European music. It was no longer so respected, because it was far too serious about itself, too aggressive for the mind, exhaustive for the mind, and numbing for the heart. It became almost completely devoid of a sense of humor. Nature abhors emptiness, so contemporary compositions written only for competition with academic colleagues were replaced by dance and film music. Today, popular music triumphs even in concert halls, where orchestras enthusiastically play John Williams's film scores while Renee Fleming (with a microphone! O, horror of horrors!) sings pop songs by Korngold or Cohen, equating them with art songs by Faure or Debussy.

Wanda Landowska in Lwow in 1937, By  Ilustrowany Kurier Codzienny - Archiwum Ilustracji - Narodowe Archiwum Cyfrowe, , Sygnatura: 1-K-6618-2, Public Domain, https://commons.wikimedia.org/w/index.php?curid=42557613

Let's be glad that the trend of early music has survived: since Wanda Landowska started playing baroque pieces on the harpsichord instead of the piano, more and more musicians seek solace in the world of "real" music from their beloved and idealized eras. The styles of their interpretations change over the years, bearing witness that their world is not free from fashion and sheep following in a daze behind the leader... It doesn't matter too much, for as long as they play and sing, "their" music will live in a constantly renewed tradition. It's good that the classical composers of the 18th and 19th centuries still have their admirers - although they managed to "untune" the harmony of Pythagorean consonances, they replaced them with the sublimation of emotions into art! They built kaleidoscopes and feasts of feelings with fascinating harmony, melody, rhythm... 

That's why the whole world loves Chopin! Really! I have been writing about him for 13 years on the poetry and music blog Chopin with Cherries; I edited two books, followed its reception among composers, in film, and on the Internet.[7] Strange! The music of a 30-year-old tuberculosis, bitter exile without relatives and home warmth in Paris - despite having a French father, Polish homeland enchanted him for life - delights millions! It awakens the carefully dormant sphere of emotions among rushed, alienated people from China and Korea; it appeals to both Americas, and of course triumphs in the Slavic sphere. (The flow in the opposite direction is limited: I don't know many sincere admirers of the classical Chinese opera, for instance, though taiko drumming from Japan has many followers...)

Lang Lang plays Chopin's Prelude in D-flat Major, Op. 28, No. 15 https://www.youtube.com/watch?v=R2d2spnXyLA (slower than most!)

What has already died and is still dying is the tradition of amateur music-making in choirs and at home; where everyone has their own headphones and their own player - or LP, CD, MP3, iPhone ... and you don't even sing Christmas carols together anymore ... Jolanta T. Pekacz postulated in 2002 that in musicology studies more attention should be paid to various forms of presence music in everyday life.[8] Why? It is occasional, religious, solemn, festive and dance music that builds our world in sounds. If it is harmonious and beautiful, it reflects the beauty of the Cosmos as in a mirror. "As above, so below," claim the followers of hermetic and esoteric sects. Some even believe that the human voice has a unique relationship with the Cosmos: once beautifully sung, a lovely melody carrying a kind Word echoes through the entire universe. Om mani padme hum... Hallelujah! Plato already said that beauty is good, is truth. Indeed...

Om Mani Padme Hum by Dajit Virk and instruments: https://www.youtube.com/watch?v=c-U88AHbElw

New research in the area of psychology of music shows that group singing has multiple positive health, psychological and social effects on its participants.[9] Research into choirs and other forms of collective singing has been conducted for several decades and has focused on the potential health and wellness benefits, particularly for amateur singers.[10] Experimental, quantitative and qualitative research studies show a range of bio-psycho-social and well-being benefits for singers. In one project, the "range of emotional and endocrine responses to singing or listening to choral music" was investigated, proving that active participation in choral singing resulted in "significant increases in positive and decreased negative emotional states." Singing strengthens the specific immunity of the body as well as leads to an increase in positive emotions.[11]

Alleluia Sancte Michael, by Gregorian Chant Academy: https://www.youtube.com/watch?v=UPYsNY46l60

The first scholarly research books about positive psychological states were written by Mihaly Csikszentmihalyi, the author of the theory of concentration during creation or intensive work, i.e. the "flow" (1975-1998).[12] The perspective of the “positive psychology” by Martin Seligman (2011) [13] used in vocal music studies identifies the elements of positive well-being, i.e. one aspect of hedonic well-being (positive emotions and joy) and four aspects of eudaimonic well-being (involvement in action, building and maintaining relationships, deriving meaning from action and a sense of achievement, success).[14] Singing together builds up all these elements. 

 Hildegard von Bingen: O ignis spiritus paracliti: https://www.youtube.com/watch?v=1MI5JgWOOr0

Researchers found that “singing in a group has a better effect on the well-being of participants than singing alone” (Stewart & Lonsdale, 2016).[15] In addition, choral singing improves the "sense of competence and social connection" and the "potential for positive well-being."[16] Ruud (2012) identified four dimensions or categories of quality of life that benefit from active participation in choral singing: vitality (emotional life, aesthetic sensitivity, pleasures), agency (sense of mastery and empowerment, social recognition), affiliation (network, capital social) and meaning (continuity of tradition, transcendental values, hope). In conclusion, "current scientific evidence suggests that singing in a choir or group has a number of health and wellness benefits."[17]

What is music? A measure of harmony? The cosmic glue holding the planets in their orbits? It is a cure for loneliness, alienation, blues. The key to emotions, the secret of the heart. The energy of the sun, light and joy. The glow of infinity.


NOTES

Written in June 2023 in Polish, for the journal Metafory Wspolczesnosci. Added links to music 

[1] Grażyna Bacewicz, Znak szczególny, Kraków: PWM, 1970.

[2] Maria Anna Harley, "Spatial Sound Movement in the Instrumental Music of Iannis Xenakis." Interface. Journal of New Music Research 23/3 (1994): 291-314; Maja Trochimczyk, "From Circles to Nets: on the Signification of Spatial Sound Imagery in New Music." Computer Music Journal 25/4 (2001): 37-54.

[3]  Maria Anna Harley, Space and Spatialization in Contemporary Music: History and Analysis, Ideas and Implementations. Montreal, McGill University, School of Music, 1994; Maria Anna Harley, "At Home with Phenomenology: Roman Ingarden's Work of Music Revisited." . International Journal of Musicology 6 (1997): 9-24. Reprinted, as Maja Trochimczyk (after name change), in After Chopin: Essays in Polish Music (Los Angeles: Polish Music Center, 2000), 91-110.

[4] MaÅ‚gorzata A. Szyszkowska, “Reconsidering Ingarden's Contribution to European Aesthetics: Aesthetic Experience and the Concept of Encounter,” 2018. 

[5] Anne Kauppala, “Barthes’s ‘The Grain of the Voice’ revisited” w The Routledge Handbook of Music Signification (New York: Routledge, 2020);  Jonathan Dunsby, “Roland Barthes and the Grain of Panzéra's Voice” Journal of the Royal Musical Association, 134/1 (2009), 113-132.

[6] Anna Szlagowska, „Modernistyczny dialog poezji z muzykÄ… w twórczoÅ›ci Rilkego,"Muzykalia IV – Zeszyt niemiecki 1, portal De Musica, 2019; http://demusica.edu.pl/wp-content/uploads/2019/07/szlagowska_pl_muzykalia_4_1.pdf. 

[7]  Frederic Chopin - A Research and Information Guide, co-authored with William Smialek.  New Jork, Routledge, 2015; After Chopin: Studies in Polish Music. Los Angeles: Polish Music Center at USC, 2000; "Chopin i 'polska rasa': O nacjonalizmie i recepcji Chopina," revised chapter from The Age of Chopin (Indiana University Press, 2004); tlum. Magdalena Dziadek, Opcje 4 (2006). "Chopin and Women Composers: Collaborations, Imitations, Inspirations."  Polish Review 45/1 (2000): 29-52.

[8] Jolanta T. Pekacz, Music in the Culture of Polish Galicia, 1772-1914. University of Rochester Press, 2002.

[9] Psychological studies cited below were reviewed when I worked on a paper  "Patriotyzm w salonie: tradycje  Å›piewu domowego w rodzinie Marii Szymanowskiej" Studia Chopinowskie, Nr. 1-2, 2022:  4-40.  Gunter Kreutz, Stephan Bongard, Sonja Rohrmann, Dorothee Grebe, Hans Günther Bastian, Volker Hodapp,  “Does Singing Provide Health Benefits?” in R. Kopiez, A. C. Lehmann, I. Wolther & C. Wolf (eds.) Proceedings of the 5th Triennial ESCOM Conference 8-13 Sept. 2003, Hanover U. of Music and Drama, Germany; 

[10] Genevieve A. Dingle, Stephen Clift, Saoirse Finn, i in., “An Agenda for Best Practice Research on Group Singing, Health, and Well-Being,” in Music and Science 2 (2019), 1-15; Rachel Heydon, Daisy Fancourt, Annabel J. Cohen, “Singing and Wellbeing: Harnessing the Power of Singing,” in: The Routledge Companion to Interdisciplinary Studies in Singing (Nowy Jork: Routledge, 2020), 1-13.

[11]  Jane W. Davidson, Sandra Garrido, “Singing and Psychological Needs”, in The Oxford Handbook of Singing, 2015.

[12]  Mihaly Csikszentmihalyi, Beyond Boredom and Anxiety: Experiencing Flow in Work and Play, (San Francisco: Jossey-Bass, 1975);  Flow: The Psychology of Optimal Experience (New York: Harper and Row, 1990); Finding Flow: The Psychology of Engagement with Everyday Life (Basic Books, 1998).

[13] Martin Seligman, Flourish: A new understanding of happiness and well-being – and how to achieve them (London, UK: Nicholas Brealey Publishing, 2011)

[14]  A. Lamont,  M. Murray, R. Hale, & K. Wright-Bevans,  “Singing in later life: The anatomy of a community choir”, Psychology of Music 46 (2018) 424–439; Eiluned Pearce, Jacques Launay, Pádraig MacCarron, “Tuning in to others: Exploring relational and collective bonding in singing and non-singing groups over time”, Psychology of Music 45/4 (2017). 

[15]  N.A.J. Stewart  & A. J. Lonsdale, “It’s better together: The psychological benefits of singing in a choir,” Psychology of Music 44 (2016): 1240–1254.

[16]  Elizabeth Brown i in., “Singing Your Troubles Away: The Experience of Singing from a Psychological Standpoint—Contributions From a Heuristic Research”, The Humanistic Psychologist 43/4 (2015): 395-408.

[17]  Dingle, et al. 2019, op. cit., 10.   Pearce, E., Launay, J., & Dunbar, R. I. M. The ice-breaker effect: Singing mediates fast social bonding, Royal Society Open Science  2 (2015); M.L. Gick, “Singing, health and well-being: A health psychologist’s review”, Psychomusicology: Music, Mind and Brain 21/1-2 (2011): 176–207.