The blossoming of national musical schools in Poland is mainly associated with the name Karol Szymanowski. However his folkloric models always suited his personal style, which ultimately led him to become a first-rate sound ecstatic.
Karol Szymanowski‘s life comprises a Polish lack of openness and Viennese bohème, Catholic strictness and the Dionysian, ecstasy and ascesis.
If Scriabin could be called a constructor and programmaticist of sound ecstasies, in Szymanowski’s works ecstasy is rather coming from within and unfolding out of the mysterioso at the beginnings of the movements in a fever curve that rises continually, discharging itself in a vocal and instrumental apotheosis – as exemplified in his operas and concertos.
Sakari Oramo on Szymanowki’s Six Songs of the Fairy-tale Princess
Christian Tetzlaff on Karol Szymanowski’s Violin Concerto No. 1
Georg Friedrich Haas on Morgen und Abend
Michael Boder on Haas’ Morgen und Abend
Ernst Kovacic on Haas’ Violin Concerto
Wolfgang Schaufler conversed extensively with Friedrich Cerha and his wife Gertraud.
“One thing develops and leads to another, processes influence each other, interfere with and displace each other.” (Friedrich Cerha)