The article is devoted to the less known musical output of the outstanding Polish composer, Grayna Bacewicz, comprised of solo lieds for voice and piano. The text of the article is divided into two parts: Methodological base and Analytical part.
Part first contains research standpoints applied to the analysis of vocal-instrumental music, as presented in publications by MichaBristiger, Enrico Fubini and Mieczysaw Tomaszewski. The classification applied in the theory of songs by Mieczysaw Tomaszewski was used in this paper.
The second, longer part contains an introduction referring to representatives of Polish vocal lyrics of the interwar period, to the times of Grayna Bacewicz’s first attempts in this field. The lieds are discussed in chronological order. In the first place the analyses consider connections between the form and meaning of the poetical text and the musical form and the means of musical expression. Apart from that they contain remarks concerning technique of working on the vocal part, harmonics of the piano part, illustrative elements and verbal qualities. In the case of three lieds (Róe, Oto jest noc, Nad wodwielki czyst), texts of the poems are quoted along with analysis of the corresponding motif material. Characterisation of individual lieds is complemented with remarks on other works by Grayna Bacewicz that were composed at the same time. The references reveal that the transformations taking place in the entire output of Grayna Bacewicz had a significant effect on the sound language of the lieds. The substantive discussion is crowned with a quotation of the composer’s brother, a pianist, Kiejstut Bacewicz.
The article contains 7 examples of musical notation. The article is complemented with a chronological list of lieds, containing names of the authors of the poetical texts as well as dates and names of first performers.