{"id":9918,"date":"2025-10-13T08:30:12","date_gmt":"2025-10-13T06:30:12","guid":{"rendered":"https:\/\/www.eufonie.pl\/from-masks-to-space\/"},"modified":"2025-10-31T15:49:27","modified_gmt":"2025-10-31T14:49:27","slug":"from-masks-to-space","status":"publish","type":"post","link":"https:\/\/www.eufonie.pl\/en\/from-masks-to-space\/","title":{"rendered":"From masks to space"},"content":{"rendered":"\n

This extraordinary program will feature Japanese pianist Yusuke Ishii<\/strong>, whose career exemplifies an artistic and scientific model. A virtuoso pianist, composer and musicologist, a graduate of the Conservatoire national sup\u00e9rieur de musique de Paris, he dedicates his work to uncovering forgotten pages of modern music history. <\/p>\n\n

Join us for a piano concert as part of the Eufonie <\/em>Festival, which will bring together three visions of new music of the first half of the 20th century<\/strong>. For the Polish-Lithuanian siblings, Vytautas Bacevi\u010dius<\/strong> (1905-1970) and Grazyna Bacevicz<\/strong> (1909-1969), Karol Szymanowski <\/strong>(1882-1937) was an icon of new music. His Masques<\/g>, Op. 34, belonging to the Impressionist-Expressionist<\/g> phase, put in quotation marks characters established in the culture. The three grotesques<\/g><\/g> Bacewicz\u00f3wna are part of the current of comic-dance vituperation. Bacevi\u010dius’ works, on the other hand, represent cosmological ideas. Po\u00e8me mystique<\/em> Op. 6 <\/strong>and M\u00e9ditaton<\/em> Op. 29<\/strong>, from Kovno’s modernist years, anticipate them. Trois pens\u00e9es musicales<\/em> Op. 75<\/strong> of the American years, embody them. Cosmic music was an expression of the artist’s inner universe identified with the general universe. Piano Suite No. 3<\/em>, Op. 60<\/strong> crowns the earlier period, which is a “compromise” with the listener. Sixi\u00e8me mot<\/em> Op. 72 (1963)<\/strong> belongs to a collection of seven compositions with the character of a “spoken” in sounds “word”<\/strong>.<\/p>\n\n

<\/p>\n\n

November 22nd, 2025 | 6:00 pm | Royal Castle in Warsaw – Museum, Great Hall <\/strong><\/p>\n\n

For the concert program, see the description: Masks: Szymanowski \/ Bacevich \/ Bacevi\u010dius<\/a><\/p>\n\n

<\/p>

KUP BILET<\/a><\/strong><\/div>\n\n

In the poetics of the mask<\/strong><\/p>\n\n

In the piano triptych Masques<\/em>, Op. 34 (1915\/1916) Szymanowski referred to literary characters embedded in culture, depicted in the light of costume \u2013 a carnival or a clown one. The extra-musical connotations are related to the poetics of the title mask, with its hidden meanings and complex metaphor. In the first movement of the cycle, the evocation of the figure of Scheherazade from the Arabic collection of tales One Thousand and One Nights<\/em> corresponded to the composer\u2019s interests in Oriental culture and\u202fSufism. In the second movement, Szymanowski recalled Tristan from a tale based on Ernst Hardt\u2019s drama Tantris der Narr<\/em>. The protagonist, disguised as a jester, sneaked into the castle of his beloved, but she did not recognise him. The motif of recognising the subject of love and personal identity, which was one of the key topoi in the composer\u2019s novel Ephebos and in the opera King Roger, is shown here in ironic and grotesque distortion. Masques are a texturally advanced composition, belonging to the Impressionist\/Expressionist phase in Szymanowski\u2019s oeuvre. The pieces reveal the composer\u2019s sensual approach to the nature of sound, although he himself would often emphasise that his works originated from melodic ideas. <\/p>\n\n

Two colors<\/strong><\/p>\n\n

Gra\u017cyna Bacewicz and Vytautas Bacevi\u010dius grew up in an atmosphere of love for their dual homeland, Poland and Lithuania, surrounded by music, inspired by the musical interests of their parents: Polish, Maria n\u00e9e Modli\u0144ska, and Lithuanian, Vincas Bacevi\u010dius. Bacewicz was known as a violinist and a neoclassical composer, and in her late oeuvre \u2013 as a colourist (pre-sonorist). Three Grotesques <\/em>(1935) fit into the trend of comic and playful vitalism, characterised by parody and wit. <\/p>\n\n

Unlike his sister, Bacevi\u010dius \u2013 a composer and pianist \u2013 does not have his own distinct position in\u202fculture yet. He made a conscious decision of spending many years in Lithuania, in Kaunas (from 1926), during which he was developing his creative personality. In\u202f1939, the artist was on a concert tour in South America, where he received news about the outbreak of World War II. He chose the fate of an emigrant; he went to the USA, where he lived (in New York and Bridgeport, Connecticut) until his death in 1970. To him, living in exile meant a difficult fight for survival \u2013 both as a human being (he was facing deportation for many years) and an artist. The composer had a clear worldview, supported by a spiritual and moral foundation, which he implemented in\u202fhis work. His oeuvre evolved towards cosmic music, represented by, among others, his last opus \u2013 Trois pens\u00e9es <\/em>musicales for piano, Op. 75 (1966). 75 (1966). The cosmological trend was embodied by the sources of inspiration including parapsychological and occult experiments and yoga, which resulted in the initial artistic concepts being graphically \u201crecorded\u201d in the form of a visualised \u201cfilm\/score\u201d. On long pieces of paper, Bacevi\u010dius \u201cregistered\u201d his first ideas in the shape of charts, which, according to him, secured the thought arising in the artist\u2019s imagination and opened way to new constructivism in music. Po\u00e8me mystique<\/em>, Op. 6 (1926) and M\u00e9ditaton<\/em>, Op. 29 (1936\/37) \u2013 composed in the Kaunas, modernist and avant-garde years \u2013 anticipate these cosmic ideas. The Piano Suite No. 3<\/em>, Op. 60 (1956) culminates the classicist phase, consisting in a creative compromise and in practicing the \u201ccommunicative\u201d style with the recipient. In turn, Sixi\u00e8me mot, Op. 72 (1963) belongs to a collection of seven original and personal pieces: a word conveyed through sounds \u2013 distinct and \u201celoquently\u201d expressive music, but not in the programmatic sense. <\/p>\n\n

Bacevi\u010dius\u2019 music is \u2013 in accordance with his assumptions \u2013 atonal (or \u201csemi-atonal\u201d), athematic and absolute. The music flow is structured on the basis of various sound segments and piano texture patterns in a creatively shaped dramaturgy of tension and relaxation. \u201cEvery sound is an emotion, not an effect,\u201d used to say the composer. He also emphasised that music without philosophy, without going deeply into one\u2019s own universe \u2013 through meditation \u2013 has no purpose. And it is meant to symbolise the light of wisdom. <\/p>\n\n

Ma\u0142gorzata Janicka-S\u0142ysz<\/em><\/p>\n\n

\n\n

The same concert will be performed November 23rd at at the 6:00 pm, at the Academy of Music in Lodz <\/a>(free admission) and November 24th at 7:00pm at the Manggha Museum of Japanese Art and Technology <\/a> (Ticket sales will start soon).<\/strong><\/p>\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

This extraordinary program will feature Japanese pianist Yusuke Ishii, whose career exemplifies an artistic and scientific model. A virtuoso pianist, composer and musicologist, a graduate of the Conservatoire national sup\u00e9rieur de musique de Paris, he…<\/p>\n","protected":false},"author":990013,"featured_media":9766,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[65],"tags":[],"class_list":["post-9918","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/9918","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/users\/990013"}],"replies":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/comments?post=9918"}],"version-history":[{"count":1,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/9918\/revisions"}],"predecessor-version":[{"id":9919,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/posts\/9918\/revisions\/9919"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media\/9766"}],"wp:attachment":[{"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/media?parent=9918"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/categories?post=9918"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.eufonie.pl\/en\/wp-json\/wp\/v2\/tags?post=9918"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}