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• W4385763567 abstract "Reviewed by: Engaging Cultural Ideologies: Classical Composers and Musical Life in Poland, 1918–1956 by Cindy Bylander Marta Beszterda van Vliet Bylander, Cindy. Engaging Cultural Ideologies: Classical Composers and Musical Life in Poland, 1918–1956. Polish Studies. Academic Studies Press, Boston, MA, 2022. xii + 356 pp. Illustrations. Notes. Bibliography. Index. $149.00. In Engaging Cultural Ideologies, Cindy Bylander traces the musical-political realities of composers, musicians, critics and policymakers as they engaged in Polish new music culture, and their impact on repertoire performed between 1918 and 1956. The dynamic political framework of early- and mid-twentieth-century Poland generated financial and ideological challenges for composers and concert organizers. Bylander demonstrates that despite this fluctuating landscape, many debates around the role of music in society were recurring, if not continuous. Questions of artistic freedom and integrity, the democratization of music and preserving a local idiomatic style while staying au courant with Western compositional trends were only some of the ‘polemics concerning musical composition that were marked by similar points of contention across seemingly diverse historical eras’ (p. 9). In a survey of this kind, the intervention of the state in music composition in the post-war years is of particular interest. Although state-sanctioned Socialist Realism exerted considerable pressure on composers’ aesthetic choices during the first post-war decade, Bylander emphasizes the individual agency of those who shaped the music scene and its institutions. As she argues, ‘regardless of any prevailing socio-political constraints, these musicians as a whole defended their ability to independently choose their own compositional path’ (p. 6). The book additionally illustrates the longer lineage of the ideological-aesthetic debates of nationalism-cosmopolitanism and elitism-democratization that found renewed importance under this new political doctrine and continued to influence repertoire choices at concert halls and festivals. The book is organized into five main time periods: the interwar years (chapter 1), Second World War (chapter 2), post-war transition 1944–48 (chapter 3), the period of acute Socialist Realism 1949–53 (chapter 4), and post-Stalinist thaw 1954–56 (chapter 5). A brief consideration of post-1956 resonances in music and musicology is offered in the final chapter. The overview of each period’s aesthetic and programmatic trends is preceded by an analysis of the overall [End Page 379] socio-political background, the state of music institutions and the system of commissions and funding. With extensive archival research, Bylander recaptures the landscape of concert and festival programmes in Warsaw and other key musical scenes, primarily Kraków, Katowice and Poznań. Case studies of the performance history of selected pieces provide additional insight into the political-ideological implications of new music repertoire, and include Maklakiewicz’s symphonic poem Grunwald (1944), Rudziński’s opera Janko Muzykant (1951) and Panufnik’s Symphony of Peace (1951). With its wide-ranging overview of the new music repertoire created and performed for concert and radio audiences in Poland between 1918 and 1956, Engaging Cultural Ideologies complements the fast-growing body of English-language scholarship on twentieth-century Polish classical music. Recent topics include the role of the Polish Composers’ Union and the impact of Socialist Realism on post-war music (Cooper Vest, 2020; Tompkins, 2013, Wieczorek, 2020), the first decade of the Warsaw Autumn Festival (Jakelski, 2016) and the experience of Jewish musicians and musicologists during and around the war (Pierce, 2019, 2020). Undoubtedly one of the book’s biggest assets is how Bylander synthesizes other scholars’ recent contributions while placing them in dialogue with Polish-language works, often providing first-time translations of histories and facts that were to date only available to Polish readers. The scope of history included in the book is remarkable, especially Bylander’s methodical recreation of countless musical premieres, committee meetings, letters, institutional histories and individual life trajectories of her protagonists. The rich spectrum of topics laid out in the book, however, does not always allow the author to elaborate on each of them to a satisfactory extent, and her generosity in invoking other authors’ arguments unnecessarily softens Bylander’s own interpretation at times. As a result, readers who are familiar with the recent wave of scholarly work on interwar and post-war Polish musical culture may..." @default.
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• W4385763567 title "Engaging Cultural Ideologies: Classical Composers and Musical Life in Poland, 1918–1956 by Cindy Bylander (review)" @default.
• W4385763567 doi "https://doi.org/10.1353/see.2023.a904405" @default.
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