Harmony of Contrasts
Polish–Czech Violin Music of the 20th Century
(Re)discovering the Familiar
At the end of the 19th and the beginning of the 20th century, many visionary composers emerged in both Poland and the Czech lands. This was partly due to a growing interest in nationalism and traditional music. In Poland, there was Fryderyk Chopin, and in Austria (Bohemia), Antonín Dvořák. In the first half of the 20th century, Poland tended to emphasize mysticism, while the Czech nation remained more grounded. Both countries, however, shared a strong sense of folklore. Leoš Janáček captured the Moravian folk speech of villagers in his works, noting its precise tones and rhythms on his shirt cuffs and perceiving them as “speech melodies.” In contrast, the Polish composer Karol Szymanowski paid greater attention to emotion in his depiction of mystical stories in Myths.
When studying scores, it is always important to understand the musical language of composers, which changes and develops throughout their lives. Witold Lutosławski is quiet and meditative in his early Recitativo e Arioso, yet explosive in his late work Subito; Luboš Fišer is dramatic in The Hands and lyrical in Amorosso; Krzysztof Penderecki’s experimental Miniatures find their opposite in the contemplative Ciaccona in Memoriam Giovanni Paolo II.
Many contrasts can also be found within a single piece — especially in Lutosławski’s Subito, Janáček’s Sonata for Violin and Piano, Szymanowski’s Nocturne and Tarantella, Oldřich František Korte’s Philosophical Dialogues, and Grażyna Bacewicz’s Sonata for Violin and Piano No. 4.
The nature of Polish and Czech composers is deeply rooted in their Slavic origins. The creation of harmony and the search for balance lie at the heart of music. Composers strive to achieve this in their works, while performers convey it to the audience.
Czech composers were to a large extent influenced by the development of Polish musical language following the establishment of the Warsaw Autumn contemporary music festival. Polish violin pedagogy of the 20th century, represented by Eugenia Umińska — a student of Otakar Ševčík — partly stems from Ševčík’s method.
The combination of diverse stylistic elements (such as traditional folk music with romantic, impressionist, or modern music), together with the Polish–Czech connection in 20th-century violin literature, creates a unique harmony of contrasts.
My goal was to create two recitals: the first for violin and piano, and the second reflecting the works of Czech and Polish 20th-century composers in chamber ensembles featuring the violin.
The programs consist of contrasting works by both well-known and lesser-known composers. Some are celebrated in one country and forgotten in the other, evoking a sense of (re)discovering the familiar.
Thesis:
During my studies, I have observed that interest in 20th-century Polish violin literature in the Czech Republic is not particularly strong.
I believe that one of the reasons for this is the challenging nature of the musical material itself. The aim of this doctoral dissertation is to introduce the reader to the historical context and to outline the influences and relationships between Poland and Czechoslovakia — later the Czech Republic — throughout the 20th century. Furthermore, through selected works by major Polish composers of the 20th century (which I have chosen as representatives of each composer’s violin writing), I conduct a comprehensive analysis, including an examination of their musical language and biographical context. Finally, the dissertation seeks to identify connections and contrasts between Czech and Polish works composed during the same periods in Czechoslovakia (and later the Czech Republic), to propose ways of integrating them into cohesive concert programs, and to provide guidance on tone production and practice methods for Polish compositions featuring distinctive violin techniques.
Already in my master’s thesis, Karol Szymanowski and His Musical Language, I explored Polish music of the 20th century. Since then, I have regularly consulted with Polish performers about their musical traditions and performed Polish works in recitals both in the Czech Republic and abroad.
In my bachelor’s thesis, I also dealt with 20th-century music — specifically the Czech composer Leoš Janáček, who shares many parallels with Karol Szymanowski, such as his innovative approach and anticipation of later musical styles.
Below is a recording of Sonata for Violin and Piano No. 3 by Bohuslav Martinů, which illustrates the development of music in 20th-century Czechoslovakia, as well as an educational video in which I describe special 20th-century violin techniques (again focusing on Polish and Czech music).
The dissertation also includes a timeline depicting the artistic influences, stylistic directions, and political circumstances of the 20th century, with particular attention to the development of Poland and the Polish violin school.
Related Works and Videos:
The master’s thesis focuses on the musical language and violin literature of the Polish composer Karol Szymanowski. Understanding his works requires insight into the context of his life and the period in which each composition was written. Among other things, the thesis includes interviews with the Polish pianist Marcin Sikorski, as well as discussions of Szymanowski’s personal life and the connections between his violin compositions (particularly the two violin concertos, Myths for violin and piano, etc.) and his broader oeuvre.
The bachelor’s thesis focuses on Leoš Janáček’s Violin Sonata and its genesis. To fully understand Janáček’s work, it is essential to grasp his musical language, which is why part of the thesis is devoted to this topic. Among other things, it includes interviews with Dr. Alena Němcová, who worked for many years at the Leoš Janáček Foundation, and with the violist of the Smetana Quartet, Professor Milan Škampa.