Karol Maciej Szymanowski Essay

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Karol Maciej Szymanowski, a Polish composer, music publicist and pianist at the turn of the 20th century was renowned for championing Polish nationalism in music. During his childhood, a bad fall led him to be lame in his left knee, which permanently cut him off from active music life and was exempted from conscription to fight in World War I. He spent those years in semi-isolation; devoting himself to compose music. In 1905, he founded “Young Poland in Music”, a late 19th – early 20th-century modernist movement comprising of Polish composers that promotes contemporary Polish compositions by publishing them and studying music with strong influences of Neo-romanticism from composers such as Alexander Borodin and Modest Mussorgsky. Szymanowski’s …show more content…

He wrote this set when he started studying composition in Warsaw at the age of 20. This set consists of four etudes for solo piano with individualistic styles, which exemplifies the synthesis of Alexander Skryabin’s harmonic language with the model of Fryderyk Chopin’s Etudes and late-Romantic styles. While the forms and tonality of these etudes remains traditional, Szymanowski experimented with late-Romantic musical drama style through polyrhythimic display, broad and dramatic contrasts of dynamics ranging from Pianississimo (ppp) to Fortississimo (fff), thick polyphonic texture, passionate emotions, and extreme chromaticism. This set was dedicated to Natalia (Tala) Neuhaus, who was his cousin and also a fellow …show more content…

As it reaches to the climax in Fortississimo (fff), the thematic material and rhythmic pulse remains the same but the level of drama is intensified by the right hand playing the theme in an octave higher, while the left hand furnishes the theme with chordal accompaniment in the mid-register of the piano, supported by low octaves that outlines the harmonic progression. Everything culminates to a dramatic ascending scale with a long trill that falls on a B flat minor chord. After a moment of outburst, half-diminished seventh chords were played; projecting pain and sadness which is supported by a dominant pedal on F key that symbolizes darkness. The last section returns to the theme with a hint of resolution given at the last few bars with bell-like

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