Musicology Today 2012 100 Years of Polish Musicology

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104 Bożena Muszkalska was foreign, and really not quite acceptable because those were days when the Germans were forcibly trying to germanize the occupied territories. You see, to me, the significant thing, or a significant thing is that my mother, although to all intents and purposes, of German descent, although, mostly Swedish and Italian...“Harder” was the name that came from Sweden. And “Retti” was the one that came, that was the name of my mother’s grandmother. So, she raised me as a Pole. And she learned Polish to absolute perfection, I mean, she spoke Polish without the trace of an accent. She had her Polish girlfriends and she had German girlfriends too. So she was, you know, between two worlds. But she also spoke English and she also spoke French. So she was, in that respect, a very, sort of, international person. So, in order to avoid any further conflict, they decided not to be married in any church at all, no religious ceremony, neither Protestant nor Catholic. [...] [They had] a civil marriage, performed by the appropriate civil servant, to be held in the Masonic Lodge, to which my father belonged. Totenkopf-Loge. 16 Owing to his open support for Poles in East Prussia who struggled for reunification with Poland, Łucjan Kamieński was branded as an agitator and had to leave Königsberg. After a short time in Berlin, he went to Poznań, where he resided from 6 th June 1920 (Piotrowski 1985: 211 ff.). Kamieński and his wife moved to Poznań because of an offer that Kamieński had received from the Ministry of the former Prussian Province to organise Polish musical life in that city (together with another musicologist, Henryk Opieński). He accepted this offer enthusiastically, since he saw settling in Poznań — “the capital of the Western Polish borderland” — as an opportunity to carry out his earlier plan of studying the musical folklore of the Polish-German frontier. Shortly after his arrival, he took up the post of deputy director in the freshly opened State Music School and Academy (which in 1922 became the State Music Conservatory). In 1921, Kamieński also began to lecture at Poznań University, where in 1922 he was appointed to the new Chair of Musicology 17 — a position he occupied till 1939. In the same year, he became deputy professor, and later — associate professor of that university. It was then that he addressed the authorities with a plan to purchase a phonograph and establish a phonographic archive. In a letter of 10 th June 1922, Kamieński reported to Chybiński: after numerous disappointments and refusals, we eventually managed to obtain our 16 From the interview conducted by Barbara Kamienski. 17 Originally called of a “Musicological Seminar”.
Łucjan Kamieński as an Ethnomusicologist and Man 105 Figure 7.4 Linda Kamieńska, Łucjan’s wife own seat in the Castle, consisting of a reasonably large room and a small study, which is in fact the former pantry in the dining room of His Majesty the Crown Prince... The Department and the Senate also granted me, for the coming year, a phonograph with materials necessary to start a phonographic archive (I was supported in this request by ethnology and three chairs of linguistics), a sum of money for the photographs and diapositives for paleographic studies, as well as an assistant librarian and a teacher of harmony and counterpoint — this post will be filled by Wacław Piotrowski. In other words: we are getting organised. While Kamieński was busy organising the Poznań musicology, he was also considered as the main candidate for a professorship at Warsaw University, which is confirmed by this fragment of his letter to Chybiński of 12 th April 1923:
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Musicology Today ⋄ 2012 Volume 9
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Contents 1 From the Editor page 5 2
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6 Sławomira Żerańska-Kominek Emp
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8 Małgorzata Woźna-Stankiewicz Th
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10 Małgorzata Woźna-Stankiewicz s
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12 Małgorzata Woźna-Stankiewicz T
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14 Małgorzata Woźna-Stankiewicz g
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16 Małgorzata Woźna-Stankiewicz e
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18 Małgorzata Woźna-Stankiewicz T
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20 Małgorzata Woźna-Stankiewicz d
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22 Małgorzata Woźna-Stankiewicz A
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24 Małgorzata Woźna-Stankiewicz t
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26 Małgorzata Woźna-Stankiewicz A
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28 Małgorzata Woźna-Stankiewicz f
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32 Małgorzata Woźna-Stankiewicz J
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34 Małgorzata Woźna-Stankiewicz I
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3 Prof. Adolf Chybiński (1880-1952
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40 Michał Piekarski and Grieg (Chy
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42 Michał Piekarski Lvov and Its U
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44 Michał Piekarski The Beginnings
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46 Michał Piekarski Figure 3.1 “
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48 Michał Piekarski Note that as a
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50 Michał Piekarski Musicology at
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52 Michał Piekarski Figure 3.2 Ann
Page 54 and 55: 54 Michał Piekarski centuries). Al
Page 56 and 57: 56 Michał Piekarski sicology. In 1
Page 58 and 59: 58 Michał Piekarski Commander’s
Page 60 and 61: 60 Michał Piekarski with a one-yea
Page 62 and 63: 62 Michał Piekarski Chybiński Ado
Page 64 and 65: 64 Michał Piekarski Winowicz Kryst
Page 66 and 67: 66 Piotr Dahlig Julian Pulikowski (
Page 68 and 69: 68 Piotr Dahlig Doctor Pulikowski r
Page 70 and 71: 70 Piotr Dahlig tation (nearly 5.00
Page 72 and 73: 72 Piotr Dahlig musicology. His res
Page 74 and 75: 5 Bronisława Wójcik-Keuprulian (1
Page 76 and 77: 76 Piotr Dahlig Doctor Wójcik-Keup
Page 78 and 79: 78 Piotr Dahlig Mersmann. Being a p
Page 80 and 81: 80 Piotr Dahlig Rhythms in Chopin
Page 82 and 83: 82 Bożena Muszkalska Maria Klement
Page 84 and 85: 84 Bożena Muszkalska Our priest ha
Page 86 and 87: 86 Bożena Muszkalska and functions
Page 88 and 89: 88 Bożena Muszkalska the Lvov peri
Page 90 and 91: 90 Bożena Muszkalska very desirabl
Page 92 and 93: 92 Bożena Muszkalska In March 1959
Page 94 and 95: 7 Łucjan Kamieński (1885-1964) as
Page 96 and 97: 96 Bożena Muszkalska near”, “M
Page 98 and 99: Figure 7.2 continuation
Page 100 and 101: 100 Bożena Muszkalska many visits
Page 102 and 103: 102 Bożena Muszkalska Figure 7.3 T
Page 106 and 107: 106 Bożena Muszkalska As for the W
Page 108 and 109: 108 Bożena Muszkalska To begin wit
Page 110 and 111: 110 Bożena Muszkalska the house at
Page 112 and 113: 112 Bożena Muszkalska Your letter
Page 114 and 115: 114 Bożena Muszkalska Like his Ber
Page 116 and 117: 116 Bożena Muszkalska cal archives
Page 118 and 119: 118 Bożena Muszkalska the incipits
Page 120 and 121: 120 Bożena Muszkalska Both inventi
Page 122 and 123: Figure 7.7 Transcription of the son
Page 124 and 125: 124 Bożena Muszkalska It was for c
Page 126 and 127: 126 Bożena Muszkalska Figure 7.8 C
Page 128 and 129: 128 Bożena Muszkalska Poland, whic
Page 130 and 131: 130 Bożena Muszkalska Kamieński
Page 132 and 133: 8 On Zofia Lissa’s (1908-1980) Mu
Page 134 and 135: 134 Zbigniew Skowron Lissa became a
Page 136 and 137: 136 Zbigniew Skowron and function o
Page 138 and 139: 138 Zbigniew Skowron nearly 30 year
Page 140 and 141: 140 Zbigniew Skowron in 1949, prece
Page 142 and 143: 142 Zbigniew Skowron lation to them
Page 144 and 145: 144 Zbigniew Skowron ‘Recepcja mu
Page 146 and 147: 146 Zbigniew Skowron the text ‘O
Page 148 and 149: 148 Zbigniew Skowron at the time an
Page 150 and 151: 150 Zbigniew Skowron Lissa Zofia (1
Page 152 and 153: 152 Zbigniew Skowron Lissa Zofia (1
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9 The Double Centenary of Polish Mu
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156 Irena Poniatowska At the Univer
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158 Irena Poniatowska proach and to
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160 Irena Poniatowska 1760, then cl
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162 Irena Poniatowska logical order
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164 Irena Poniatowska historical tr
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166 Irena Poniatowska In Musical Fo
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168 Irena Poniatowska qualities —
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170 Irena Poniatowska preludes into
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172 Irena Poniatowska chromaticism,
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174 Irena Poniatowska to inconsiste
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176 Irena Poniatowska exclusively o
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178 Irena Poniatowska Chomiński J
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10 The Rev. Prof. Hieronim Feicht,
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182 Elżbieta Zwolińska 2008: 3-4)
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184 Elżbieta Zwolińska request, I
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186 Elżbieta Zwolińska work (Perz
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188 Elżbieta Zwolińska Some music
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190 Elżbieta Zwolińska Feicht Hie
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192 Contributors Michał Piekarski
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194 Contributors Elżbieta Zwolińs
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Musicology Today 2012 100 Years of Polish Musicology

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