International Festival of Contemporary Music Warsaw Autumn
Warsaw Autumn (Warszawska Jesień) is a festival with a long tradition and a true witness to music history. It is the only contemporary music festival in Poland on an international scale and with an international status. For many years, it was the only event of this kind in Central and Eastern Europe. Nonetheless, it remains a living organism: it thrives as much as Polish cultural funding and the general condition of music allow. The Festival is organised by the Polish Composers’ Union. The Repertoire Committee, an independent body appointed by the Union’s Board, determines the program of each edition of the festival. Warsaw Autumn is, therefore, an international and nonprofit festival of a nongovernmental association.
Warsaw Autumn was created in 1956. Regardless of the independent image that continued to attract audiences, music in the 1960s and 1970s abounded in new and exciting events, rousing the interest of the general public. After years of isolation from the new musical currents and phenomena in Western Europe following World War II and Stalinist isolationist politics, Poles were now decided to make up for lost time, learning the works of Schoenberg, Berg, Webern, Varèse, and even Bartók or Stravinsky through the festival. Warsaw Autumn was also an opportunity to follow the latest avant-garde experiments of those years: Boulez, Nono, Dallapiccola, Maderna, and Cage. Composers, performers, critics, and musicologists from the West were eager to come to Warsaw, too: out of curiosity about the countries on the other side of the curtain and simply because Warsaw Autumn gained worldwide recognition as one of the most important places for new music.
Warsaw Autumn’s modernist image was established almost from the very beginning: conservative music remained marginal in the programmes. The Festival retains an open formula, and aims at presenting a variety of phenomena and tendencies typical for the latest music: from Webern-inspired radicalism derived (Lachenmann, Ferneyhough, Hollinger), through currents that refer to the music of historical or traditional cultures, up to audio-art and sound installations. Warsaw Autumn is often termed—appropriately—as pluralistic and positively eclectic. This is necessary in order to familiarise Polish audiences with the latest developments in the world of music. For Polish musicologists and journalists, Warsaw Autumn’s programme books are the primary source about modern music. The Sound Chronicle, a full set of recordings that is published after each festival, performs a similar function (until 1999, these chronicles included Polish music only; since the Aimard plays Ligeti record in 2000, the series was extended to international music).
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