Cover

pdf iconDownload PDF
 

Foundation Info, Series Page, Title Page, Copyright, Dedication

pdf iconDownload PDF
 

Contents

pdf iconDownload PDF

pp. vii-viii

List of Illustrations and Tables

pdf iconDownload PDF

pp. ix-x

read more

Acknowledgments

pdf iconDownload PDF

pp. xi-xiv

This book could not have been written without the generous assistance of several individuals and institutions. I am grateful to director Mieczysław Kominek, Izabela Zymer, Beata Dźwigaj, and the librarians of the Polish Music Information Centre in Warsaw for their unfailing support and for granting me access to the files of the Polish Composers’ Union. ...

Abbreviations

pdf iconDownload PDF

pp. xv-xvi

read more

Introduction

pdf iconDownload PDF

pp. 1-10

The Warsaw Autumn International Festival of Contemporary Music was one of the most significant zones of cross-border cultural contact during the Cold War. Launched in Poland in 1956, the state-sponsored Warsaw Autumn staged symbolic encounters between the era’s opposing aesthetic viewpoints. ...

read more

1. The Sounds of Revolution?

pdf iconDownload PDF

pp. 11-33

The nineteenth of October, 1956, was a tense day in Warsaw. The PZPR’s Eighth Plenum was scheduled to begin.1 Appointing a new politburo was the main item of business. In a significant political shift , PZPR members planned to install Władysław Gomułka as first party secretary. His predecessor, Bolesław Bierut, had been in power from 1948 until his sudden death in Moscow in March 1956; ...

read more

2. Building an Empty Frame

pdf iconDownload PDF

pp. 34-62

Advocates of modernism rapidly reshaped Polish musical life in 1957. ZKP and MKiS were already at work on the second Warsaw Autumn Festival. Conductor Bohdan Wodiczko led the National Philharmonic in performances of music by Bartók, Honegger, Martin, Martinů, and Stravinsky.1 ...

read more

3. A Raucous Education

pdf iconDownload PDF

pp. 63-85

Warsaw’s National Philharmonic Concert Hall was in an uproar on 24 September 1963. Italian composer Franco Donatoni gesticulated grotesquely as he led the Silesian Philharmonic and Swedish organist Karl-Erik Welin in the world premiere of Per orchestra, his most daring experiment to date with compositional contingency. ...

read more

4. From Warsaw to the World

pdf iconDownload PDF

pp. 86-109

Elliott Carter scribbled hastily in the Vienna airport as he waited to board his flight to Rome. He was en route from Poland, where he had just been an official observer at the 1962 Warsaw Autumn Festival. He was writing, as he often did, to Paul Fromm, the influential Chicago-based supporter of contemporary American music who had commissioned Carter’s 1961 Double Concerto.1 ...

read more

5. Mobilizing Performers, Scores, and Avant-Gardes

pdf iconDownload PDF

pp. 110-138

In September 1964, after stops in Paris, London, Venice, and Prague, the Merce Cunningham Dance Company arrived in Poland to perform at the Warsaw Autumn. The company presented four dances (Rune, Story, Night Wandering, and Antic Meet), Robert Rauschenberg supplied the décor, and resident musicians John Cage and David Tudor provided the sound. ...

read more

6. The Limits of Exchange

pdf iconDownload PDF

pp. 139-164

In 1963, Heinrich Strobel, head of the ISCM, approached Kazimierz Serocki when they were both in Donaueschingen for the annual Music Days. Strobel had a proposition: what if the Warsaw Autumn hosted the 1965 ISCM Festival?1 Launched in 1923, the peripatetic ISCM Festival facilitated contact between members of the society’s national sections ...

read more

Epilogue

pdf iconDownload PDF

pp. 165-172

By way of closing, I offer some reflections on continuity and change. When the Warsaw Autumn began in 1956, it marked a shift in the art world that created and sustained contemporary music in socialist Poland. Composers, musicologists, performers, critics, government officials, arts administrators, ...

Appendix 1: Concert Program of the Warsaw Autumn International Festival of Contemporary Music, 10–21 October 1956

pdf iconDownload PDF

pp. 173-178

Appendix 2: Biographical Notes

pdf iconDownload PDF

pp. 179-182

Notes

pdf iconDownload PDF

pp. 183-214

Bibliography

pdf iconDownload PDF

pp. 215-230

Index

pdf iconDownload PDF

pp. 231-245