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Stanisław Wyspiański

Stanisław Wyspiański
Self-portrait, 1894
Born	15 January 1869 Kraków, Austrian Poland
Died	28 November 1907 Kraków, Austrian Poland
Nationality	Polish
Education	School of Fine Arts in Kraków
Known for	Painting

Stanisław Wyspiański (pronounced ['staˈɲiswaf vɨˈspjaɲskʲi]; 15 January 1869 – 28 November 1907) was a Polish playwright, painter and poet, as well as interior and furniture designer. A patriotic writer, he created a series of symbolic, national dramas within the artistic philosophy of the Young Poland Movement. Wyspiański was one of the most outstanding and multifaceted artists of his time in Poland under the foreign partitions.^[1] He successfully joined the trends of modernism with themes of the Polish folk tradition and Romantic history. Unofficially, he came to be known as the Fourth Polish Bard (in addition to the earlier Three Bards: Adam Mickiewicz, Juliusz Słowacki, and Zygmunt Krasiński).

Contents

Biography

Stanisław Wyspiański was born to Franciszek Wyspiański and Maria Rogowska. His father, a sculptor, owned an atelier on Wawel Hill. His mother died of tuberculosis in 1876 when Stanisław was seven years old. Due to problems with alcohol, Stanisław's father could not fulfil his parental responsibilities. Stanisław was adopted by his aunt Joanna Stankiewiczowa and her husband Kazimierz. The Stankiewicz family belonged to a bourgeois intellectual class. In their house, Wyspiański became acquainted with painter Jan Matejko, who was a frequent visitor. Matejko soon recognized that the boy had artistic talent and gave him his first artistic guidance. Wyspiański attended Saint Anne's Secondary. The school was unique for several reasons. Firstly, although the Polish language was forbidden in educational institutions under foreign rule, the lectures in Saint Anne's Gymnasium were delivered in Polish. Secondly, the teacher's goal was to equip the students with a thorough knowledge of Polish history and literature. Thirdly, graduates of the school, including Lucjan Rydel, Stanisław Estreicher and Henryk Opieński, were considered prominent figures in Kraków's cultural life. As a student, Wyspiański took particular interest in art and literature. According to Joanna Stankiewiczowa, a young Stanisław portrayed small cottages, animals, plants, armors and decorations. Wyspiański also created a dramatic interpretation of Matejko's painting Stefan Batory pod Pskowem (Bathory at Pskov).

In 1887 Wyspiański enrolled in the Philosophy Department at the Jagiellonian University and the School of Fine Arts in Kraków. While studying at the University, he attended lectures in art, history and literature. Jan Matejko, the dean of the School of Fine Arts soon recognized Wyspiański's talent and asked him to join in the creation of a polychrome inside the Mariacki Church.

The years 1890–1895 were devoted to traveling. Wyspiański visited Italy, Switzerland, Germany, Prague and France. His stay in France is regarded to have been a major point in his artistic life. He studied at the private Académie Colarossi. Since the school fee was very high, Wyspiański applied for a grant. During his stay in France he got acquainted with Paul Gauguin. Together they visited art museums, where Wyspiański was bewitched by the beauty of Pierre Puvis de Chavannes's paintings. He also attended theatre performances based on Shakespeare's and classical era plays. His future dramas: Daniel i Meleager (Daniel and Meleagra) and Powrót Odysa (Return of Odysseus) were based on the antic tradition. Meanwhile, he worked on several dramas Królowa Polskiej Korony (The Queen of Polish Crown), Warszawianka (Varsovian Anthem) and the first version of Legenda (Legend). The play Legenda (Legend) was based on the famous Polish legend about Wars and Sawa. In August 1894 he returned to Kraków, where he got involved in the modernist movement. It was then he designed and partially made a polychrome for the Franciscan Church that was composed of flowery, geometrical and heraldic motifs. Moreover, the prior of the church encouraged Wyspiański to design various stained glass windows such as Blessed Salomea, Saint Francis Stigmata and God the Father. It is worth mentioning that Wyspiański received an award from the Polish Academy of Learning for the landscape of the Kopiec Kościuszki (Kościuszko Mound). As a painter, interior designer and poet he cooperated with the Town Theatre in Kraków. First he designed furniture and scenography for the theatre performances, then he staged various dramas on the stage of the theatre.

He cooperated with the Kraków Society of Friends of Fine Art and in mid-1898 was nominated art manager of the weekly Życie (Life). Unfortunately, his first published dramas Legenda (Legend), (1897) and Daniel i Meleager (Daniel and Meleagra), (1898) did not receive the acclaim of the critics. It was the Warszawianka (Varsovian Anthem) that brought instantaneous acclaim to its author. The premiere of the drama marked his debut as a playwright of national dramas. The theatre premiere of the drama on 2 July 1901 starred Helena Modrzejewska as Maria. The years 1899–1900 marked the publication of Protesilas i Laodamia (Protesilas and Laodamia), Lelewel (Lelevel) and Legion. This drama is regarded to be the author's polemic displaying a romantic vision of history. In 1900, Wyspiański married the mother of his four children Teodora Pytko. In November the same year he participated in the wedding of his friend Lucjan Rydel in Bronowice, a village near Kraków. The wedding party was an inspiration for his well acclaimed play Wesele (The Wedding). It is a deeply critical yet sarcastic expose on Polish society of 19th century. "Wesele" transformed Wyspianski from a moderately successful visual and verbal artist associated with the Young Poland movement into a national dramatist-visionary whose significance in Poland is comparable to Yeats's in Ireland, O'Neill's in America, or Maeterlinck's in Belgium."^[2] The drama made references to the contemporary situation in Poland, and showed a picture of a powerless society. Although censorship barred the sale of copies of Wesele (The Wedding), the play was staged in the theatre.

After the success of Wesele (The Wedding) four new plays based on Polish history were published Wyzwolenie (Liberation), Achilles, Bolesław Śmiały (Boleslaus The Bold) and Legenda II (Legend 2). Next years were devoted to publishing of Skałka and Powrót Odysa (Return of Odysseus), meanwhile Wyspiański translated Corneillea's Cyd (Le Cid) and Voltaire's Zaïre.

In 1906 Wyspiański became professor of the Academy of Fine Arts in Kraków, he was also a member of the City Council. In his last years the condition of Wyspianski's health deteriorated. As a result, he underwent medical treatments in Rymanów and Bad Hall and then settled in his small cottage in the village of Węgrzce. He died of syphilis which was incurable at the time. His funeral took place in Kraków and became a national day of mourning. Wyspiański was buried in the Crypt of the Distinguished in the Skałka Church.

Creative output

Wyspiański's artistic output is very eclectic. Among dramas and poetry, one can find views of Cracow (drawings, sketch-books, oil-paintings, pastel drawings), portraits and self-portraits, designs of stained glass windows and paintings, illustrations, graphic art, plans of furniture and interiors, development of Wawel.

Drawings, such as his 1890 self-portrait, and drafts from his journeys across Europe and Poland, are among Wyspiański's better-known works. He later created a herbarium by drawing plants. He, however, most frequently used soft pastel techniques; his first pastel drawings were produced between 1890 and 1894. They mainly present the artist's family, friends and other artists. Wyspiański eagerly drew his children in everyday situations such as sleeping or feeding, including: Helenka, 1900, pastel drawing, owned by the National Museum in Kraków; Śpiący Staś (Sleeping Staś), 1902, pastel drawing, Silesian Museum in Katowice; Śpiący Mietek (Sleeping Mietek), 1904, pastel drawing, the Museum of Art in Łódź; Macierzyństwo (The Motherhood), 1905, pastel drawing, National Museum in Kraków; and Żona artysty z synkiem Stasiem (The Artist's Wife with their Son Staś), 1904, pastel drawing, now at the Upper Silesian Museum in Bytom

Using this technique he painted many of his acquaintances and artists, among others Kazimierz Lewandowski, Jacek Malczewski, Eliza Pareńska, the Kryształowicz family, Ludwik Solski, Irena Solska, Jan Stanisławski. He painted the landscapes of Kraków – the Kraków Planty Park with desmans (also painted by means of the oil technique), the Vistula Rudawa River, cottages in Grębowo and at the end of his life, views from his studio on the Kościuszko Mound. He also created a poster for Maeterlinck's Wnętrze (Interior).

A part of his output constitutes various designs – mainly stained glass windows, polychromes and interiors. Stanisław Wyspiański and Józef Mehoffer designed 36 stained glass windows together for the Mariacki Church in Kraków to help Matejko with the church conservation he had been involved with since 1889. During their stay in Paris they both made two boxes for the competition of the Rudolfinum Hall Decoration Design in Prague and curtain designs for the Juliusz Słowacki Theatre in Kraków. However, Wyspiański himself designed stained glass windows and polychromes for the Franciscan Church in Kraków (with the famous stained glass window Stań się), stained glass windows depicting Saint Stanisław, Kazimierz the Great and Henryk Pobożny for Wawel Cathedral (made only in 2005–2007 in the Wyspiański 2000 Pavilion), the design of a showroom of the Fine Arts Society (1904), stairs and hall decoration in Medical House Society. In 1905 Wyspiański and Władysław Ekielski designed the conversion of the Wawel Hill (the so-called Acropolis).

Stanisław Moniuszko

Stanisław Moniuszko (May 5, 1819, Ubiel, Minsk Governorate – June 4, 1872, Warsaw, Congress Poland) was a Polish composer, conductor and teacher. He wrote many popular art songs and operas, and his music is filled with patriotic folk themes of the peoples of the former Polish-Lithuanian Commonwealth (predominantly the Poles, Lithuanians and Belarusians).^[1]

He is generally referred to as the father of Polish national opera.^[2]

Life

Youth

Stanisław Moniuszko, Gdańsk

Statue of Stanisław Moniuszko in Częstochowa, Poland

Moniuszko was born in Ubiel, Minsk Governorate (in present-day Belarus) in 1819 to a szlachta nobility of landowners from the eastern fringe of the Vilna Governorate of the already partitioned Polish–Lithuanian Commonwealth, its eastern subject, Grand Duchy of Lithuania. His mother (maiden-name Madziarska) had Polish-Hungarian-Armenian roots.^[3][4] Moniuszko displayed an early ability in music, and began private piano lessons with August Freyer in 1827.^[5] In 1837, once his talent and interest justified it, Moniuszko began to formally study composition in Berlin with Carl Friedrich Rungenhagen, the director of the "Singakademie" Music Society,^[6] who also instructed him in choral conducting. At the same time Moniuszko studied major works of the classical repertoire as well as the process involved in staging music.^[4] While in Berlin, he had an unexpected early success when he set three songs to the words of the Polish national poet, Adam Mickiewicz.^[7] Several of his songs composed during this period were published by Bote & Bock and were favorably received by the music critics.^[4]

After three years in Berlin, he returned to Poland in 1840 to marry Aleksandra Müller. He obtained a post as an organist in Vilnius and also worked as a private piano tutor.^[6] He often had to face financial difficulties, especially as his happy married life was blessed with an ever growing family. The Moniuszkos had ten children and together with the nurses and servants there came a time when 18 people sat down at their table every day.^[8] He contributed greatly to music in the local area, staging performances of large choral works such as Mozart's requiem, and excerpts from Haydn's The Creation and Mendelssohn's St. Paul. There were also orchestral performances of works by Spontini, Mendelssohn and Beethoven.^[5]

During that time he became acquainted with the novelist Józef Ignacy Kraszewski and playwright-satirist Aleksander Fredro, who stimulated his interest in dramatic music. Around 1840, he began to compose intensively, writing his first operas and several other stage works, as well as sacred music and secular cantatas.^[9] At around this time he began work on the collection of songs entitled Śpiewnik domowy (Songbook for Home Use), which came to have wide appeal to Polish public.^[4] The first volume of this collection was published in 1843 and over the years the collection grew to 12 volumes containing 267 songs with piano accompaniment in total.

During his lifetime Moniuszko traveled numerous times to St. Petersburg where his concerts were very well received.^[4] In St. Petersburg Mikhail Glinka and Alexander Dargomyzhsky showed appreciation of Moniuszko's talent; Moniuszko became a close friend of the latter, and dedicated his Bajka (Fairytale) to him.^[10] He also knew Mily Balakirev, Modest Mussorgsky and Alexander Serov,^[4] and his style was appreciated by Hans von Bülow.^[9] Serov, the young Russian critic of the time, referred to Moniuszko's compositions as "brilliant works".^[10] He was the mentor of César Cui. Most crucial to Moniuszko's career was, however, his visit to Warsaw in 1848. He met there Jozef Sikorski, the future editor of the most notable Polish music journal "Ruch Muzyczny" (Musical Movement), Oscar Kolberg a well-known folk song collector, and Włodzimierz Wolski, a poet and future librettist of Moniuszko's best known opera Halka.^[8]

Maturity

In 1848 in Vilnius, he staged and conducted the premiere performance of the first, two-act version of his opera Halka. It took ten years before the political climate cooled enough to be able to perform such a nationalist-themed opera again.^[11] After the triumph of his new four-act version of Halka during the Warsaw premiere on 1 January 1858, he toured France, thanks to the help of the pianist Maria Kalergis, where he met Auber and Rossini. After a visit to Berlin, he met Smetana in Prague, who prepared the Prague premiere of Halka, and finally Moniuszko visited Weimar, where he met Liszt.^[5] Named after its heroine, Halka, after being shown in two acts in 1848 in Vilnius, was premiered with great success in 1858 in Warsaw in its final four-act form. On that evening the composer, shy and limping slightly, thanked the audience, bowing many times to incessant applause. It was soon later staged in Prague, Moscow and St. Petersburg,^[5] where it met with great success.^[11]

On 1 August 1858 he was appointed principal conductor of the Polish Opera in the Grand Theatre in Warsaw. He wasted no time in staging his opera Flis later that year, and during his 15-year tenure he conducted almost solely his own work.^[6] In 1862 Moniuszko travelled to Paris again, hoping to have one of his operas staged there, but this didn't happen.^[5] His early return from France, was due to a change in the political climate caused by the January Uprising, which was unfavourable to artistic activity. Moniuszko's composition was affected.^[5] In 1864, Moniuszko started lecturing in harmony, counterpoint and composition in the Music Institute in Warsaw, where he also directed a choir. His disciples included, among others, Zygmunt Noskowski and Henryk Jarecki.^[6] In 1865, a staging of his Straszny Dwór (The Haunted Manor) enjoyed an enthusiastic reception, and his new opera proved to be a success comparable to that of Halka.^[6]

From the success of Halka to other major operatic compositions; Flis (The Raftsman), 1858, Hrabina (The Countess), 1860, Verbum Nobile, 1861, and most importantly Straszny Dwór, 1865. The common trait shared by all these works are librettos that—while depicting Polish nobility and gentry, and sometimes characters of common origins—emphasized Polish customs and traditions, and at the time of national strife, sustained and fostered patriotic feelings.^[6] Stanisław Moniuszko died on 4 June 1872 in Warsaw of a sudden heart attack and was buried in Powązki Cemetery. His burial ceremony becoming a national event and his music became widely acclaimed in Poland and generally accepted as a paragon of "Slavonic" music. There is a bust monument built in his honor in the Old Town of Vilnius in the middle of the square of his name.

Music

According to Jim Samson in Moniuszko's Grove Music entry, "Like Glinka in Russia, Erkel in Hungary, and Smetana in the Czech lands, Moniuszko has become associated above all with the concept of a national style in opera." Moniuszko's opera and music as a whole is representative of 19th century romanticism, given the extensive use by the composer of arias, recitatives and ensembles that feature strongly in his operas.^{[citation needed]} An exception is Straszny Dwór (The Haunted Manor), where beautifully scored choral parts testify to Moniuszko's mastery of writing for many voices.^[10] The source of Moniuszko's melodies and rhythmic patterns often lies in Polish musical folklore. One of the most visibly "Polish" aspects of his music is in the forms he uses, including dances popular among upper classes such as polonaise and mazurka, and folk tunes and dances such as kujawiak and krakowiak.^[10] The most notable among his choral works are cantatas Sonety krymskie (Crimean Sonnets) and Widma (Phantoms), composed to the texts of Adam Mickiewicz, the leading poet of the Polish Romanticism. The melodic line of the former is particularly expressive and in parts of the composition takes on the form of variations.^[10]

His series of twelve song books, Śpiewnik domowy (Songbook for Home Use), are notable for sheer number as well as quality. Though many of the songs are simple, predominately strophic, some take on a form of dialogues or ballads, and the majority testify to the composer's originality and melodic inventiveness.^[4] The source of Moniuszko's melodies and rhythmic patterns often lies in Polish and Belarusian musical folklore; the majority of the texts are those of some prominent Polish poets, of whom many traced their roots from what is now Belarus (where of Litvin origin): Mickiewicz, Pol, Kraszewski Syrokomla, Lenartowicz, Czeczot, Odyniec,^[10] Dunin-Martsinkyevich.^[12]

An English version of Straszny Dwór was created and premiered by the student operatic society at Bristol University in 1970; this version has been performed since, specifically in 2001 by Opera South. The company also presented the world premiere of a specially created new English version of Verbum Nobile in 2002.

Pocket Opera, in San Francisco, produced and presented Donald Pippin's English language version of Straszny Dwór in 2009, and of Halka in 2010.

Legacy

During his life, Moniuszko was recognised as an important national composer,^[13] but after his death, he became revered. From statues,^[14] to the names of parks,^[15] music competitions,^[16] musicians,^[17] and institutions^[18] the name Stanisław Moniuszko constantly features in Polish society. He has also been featured on stamps,^[19] bank notes^[20] and other official documents in Poland. The 1,841 seat main auditorium of the Teatr Wielki, where the Polish National Opera is based, is also named after him.

In 1951 Moniuszko's life, particularly his composition of Halka, was portrayed in the film Warsaw Premiere directed by Jan Rybkowski. Moniuszko was played by Jan Koecher.

Since the 1990s Stanisław Moniuszko is being recognized in Belarus as an important figure of Belarusian culture.^[21] Moniuszko's operas are regularly performed at the Belarusian National Opera. There is a Museum of Stanisław Moniuszko.^[22]