A Study Of The Ethnicity Of Szymanowski’s Late Piano Works

Karol Szymanowski(1882-1937)is a representative of Polish national music that appeared in Poland after more than half a century after Chopin,known as the "father of modern Polish music",and laid the foundation for the development of Polish music in the 20th century.His life went through three creative stages: early(1900-1914)with a preference for late Romantic style influenced by Romantic composers such as Chopin and Scriabin,as well as German music;In the middle period(1914-1924),Szymanowski traveled to various countries,and on the way was infected by the musical culture of various countries,became interested in exotic atmospheres,and pursued impressionist styles;After Poland’s independence in 1918,out of his sense of responsibility for the inheritance and development of Polish culture and the crisis of creation,Szymanowski gradually began to excavate the vigorous musical elements with Polish national characteristics and add them to his own creations,entering the late(1924-1937)Polish national style music creation stage and achieved great achievements,and also left a precious musical legacy for future generations of composers.Szymanowski’s late piano works mainly include Op.50 "Twenty Piano Mazurkas",Op.62 "Two Piano Mazurkas" and the unnumbered "Four Piano Polonaise",this paper mainly takes these three works as the research object,using musicological analysis,history,philology and other research methods to analyze and study the formation background,embodiment and historical value of national character in Szymanowski’s late piano works.This paper is divided into three parts: introduction,the body part of the treatise and conclusion:The introduction mainly reviews the reasons for the selection of this paper,the results and current status of Szymanowski’s research at home and abroad,the research significance and research methods of this paper.This treatise is divided into three chapters,which are Chapter two to chapter four.The second chapter mainly discusses the background of the formation of national character in Szymanowski’s late piano works from three perspectives: social and historical background,Szymanowski’s life and creative experience,and the influence of other composers on him.The third chapter is not only a treatise but also a key chapter in this article,which provides a detailed analysis and discussion of the embodiment of nationality in late piano works from three aspects: "the use of national folk music genres in works","the use of folk music elements in works" and "the expression of Polish national feelings in works"."The Use of Genres of National and Folk Music in Works" discusses the relationship between the genre and ethnicity of the work from a macro perspective,the origin and musical characteristics of mazurka and other Polonaise,and the development of these two genres by Szymanowski."The Use of Folk Music Elements in Works" is based on the analysis of music ontology,which discusses the national style embodied in the aspects of key scale,melody structure,melody and rhythm in late piano works from a microscopic perspective."The Expression of Polish National Complex in Works" summarizes the national view expressed by Szymanowski in his late piano works.The fourth chapter focuses on the influence of Szymanowski and his musical composition on Polish music,on subsequent composers,and on our country.The conclusion reviews the formation of the national character of Szymanowski’s late piano works in the personal experience and the complex social,historical and cultural background,and presents them in various forms such as macro and micro in the works,which rejuvenates and vitality of Polish national music,leaves a rich musical heritage for future composers,and enlightens the creation and development of national music in China.