https://doi.org/10.16926/em.2015.10.03
The article shows folklore inspirations contained in Polish violin sonatas composed throughout the 20th century: analytical considerations apply to 8 works created in the first half and 3 in the second half of the 20th century. Most of these compositions, listed below with dates, belong to the so-called current of ‘Forgotten Polish music’:
— Michał Józefowicz, Sonata in D minor for violin and piano op. 12 (1902),
— Henryk Melcer, Sonata in G major for violin and piano (1907),
— Józef Szulc, Sonata in A minor for violin and piano op. 61 (before 1908),
— Franciszek Brzeziński, Sonata in D major for violin and piano op. 6 (1910),
— Witold Friemann, Sonata in E minor „Polish” for violin and piano op. 15 (1913),
— Stefan Bolesław Poradowski, 3 Sonatinas for two violins op. 11a (1923),
— Alfred Gradstein, Sonatina in C major for violin and piano (1937),
— Stanisław Wisłocki, Sonata in F major for violin and piano (1942),
— Jerzy Kolasiński, Sonatina for violin and piano „alla rustica” (1971),
— Jerzy Młodziejowski, Sonata for two violins (1972),
— Joanna Bruzdowicz, I Sonata „Il Ritorno” for violin solo (1990).
The paper discusses these works in chronological order. The purpose of the analysis is to find answers to the following questions:
Which elements of Polish folklore appeared in the 20th century Polish sonata?
How were they implemented, and therefore what compositional techniques were used in their
creation?
What function was ascribed to these works by individual composers?
Each of the compositions is analysed with reference to the above mentioned research problems
and illustrated by examples of musical notation. Research shows that four elements of Polish folklore occur in this genre and that they are implemented in various ways by different authors. These include:
— melo-rhythmic features in mazurka dances (in the theme structure and in the stylization of
a movement in sonata – in 6 musical pieces),
— „krakowiak” stylization in the finale movement of sonata – in 2 pieces,
— a reference to the polonaise style (melo-rhythmic features in the themes of 2 pieces),
— Górale songs stylization, the so-called „Wierchowa nuta” (‘Wierchowa genre’ – two-voice or
multivocal melodic idea of mountain peak slow-pace songs – consisting of 1 musical phrase with repetition, sung by Polish Górale in Podhale) in the slow movement – in 1 piece.
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