![]() ![]() ![]() His Stabat Mater ranks as one of the early masterpieces of his final, nationalist period. He began to write music that not only expressed himself but really mattered, and he finally became able to bring Chopin into his own work. He began not only to compose again, but to compose almost all the masterpieces that keep his name alive for us. He found his way out – and the way to his genuine creative self – through Polish folk music and traditions. Knock-off Strauss or hothouse Orientalism, even well done, becomes beside the point very quickly, especially when you can get more convincing goods from, say, Debussy or Strauss himself. However, toward the end of the first world war, he felt himself at a creative impasse. One doesn't doubt his compositional chops, regardless of what one may think of an individual piece. He moved to an Impressionist exoticism – not a favorite genre of mine – and he did both very well. Nevertheless, one marks them as significantly different types – the Poulenc written in hot blood, the Szymanowski a bit cooler.Īlthough he kept a life-long admiration for Chopin, Szymanowski as a composer started out mainly as an heir to Richard Strauss. Summary for the Busy Executive: Paradisi gloria.Īs far as I know, a unique pairing, but I don't complain, since it gathers two of my favorite 20 th-century works, and not just choral works.
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