NOSPR / Salwarowski - NOSPR

How deeply is literature embedded in Romantic music? The etymology of the word ‘romantic’ traces back to the Old French word ‘romanz’, which referred to vernacular literature or tale. Thus, it leaves little doubt that fascination with the narrative constituted a driving force of the era. Manfred stands as one of many works conceived in this union of story and sound. Robert Schumann’s father was a bookseller and a translator of literary fiction. He instilled in his son a sensitivity to the written word, particularly to the works of the English Romantics. In 1848, the composer adapted George Byron’s poem for the stage, composing an overture and incidental music. This symphonic work emerged during one of the most difficult periods in Schumann’s life, when he was likely grappling with mental health issues. Might this be reflected in the music? The drama, abrupt dynamic shifts, and introspective emotional tone of the work suggest an inner turmoil that found its way into sound.

In the concert, the sombre tones of Manfred will be counterbalanced by works of Polish composers inspired by national musical traditions. Mieczysław Karłowicz’s ethereal Serenade, composed at the age of just twenty-one, draws upon his fascination with the Tatra Mountains. While its structure echoes classical forms, the piece is unmistakably shaped by Karłowicz’s lyrical sensibility.

Wojciech Kilar made an even more explicit reference to his native culture in Krzesany – a declaration of love for the folklore of the Podhale region. With this homage to the Tatra Mountains, the composer – captivated by the lively rhythm of the dance – seemed to have abandoned his earlier avant-garde explorations. The stylistic shift proved highly successful: today, this symphonic poem ranks among Kilar’s most frequently performed works.

Krzysztof Siwoń