Witold Lutosławski`s songs for children in the context of 20th century

Witold Lutosławski`s songs for children in the context of 20th century

Anna G. Piotrowska
Witold Lutosławski’s songs for
children in the context of
20th century oeuvre of this genre
Witold Lutosławski is one of those many prominent 20th century composers
who decided to dedicate a number of his works to children. He composed over
forty songs for children, most of them published during his lifetime. For over
ten years – commencing in 1947, when the composer presented his first song for
children – Lutosławski regularly composed these kinds of works. His songs very
soon gained enormous popularity and were introduced to the Polish school curriculum.
In this paper I propose to look at Lutosławski’s compositions for children in
a broad cultural context and analyze these songs with reference to the role the
so-called music for children played in the 20th century. First of all I would like to
concentrate on the position of Lutosławski’s songs for children in the context of
educational ideals focusing on the musical development of children postulated
by Jaques-Dalcroze, Orff and Kodaly. Moreover, I intend to ponder on the issue
of the place the songs for children by Lutosławski occupy in the context of the
general 20th century tradition of composing music for children, as observed in the
works by Stravinsky, Britten, Prokofiev or Poulenc, who also conceived a number
of compositions especially for children. Thus I chose to compare Lutosławski’s
songs for children with songs composed for children by Stravinsky.
20th century ideals of musical education
Although a child as a recipient of music has been recognized for a long time,
and this issue has its own tradition in the history of human thought, the first holis see for example: Taniec (Dance; lyrics by Julian Tuwim), Wróbelek (Little sparrow, lyrics
by Lucyna Krzemieniecka) in: Leokadia Jankowska, Danuta Wasilewska, Muzyka – klasa 3
(Music – Grade 3), Warszawa: Wydawnictwa Szkolne i Pedagogiczne, 1980, pp. 35, 54.
63
Witold Lutosławski Studies 3 (2009)
tic attempts to create educational systems aiming at shaping pro-musical attitudes
among children appeared in the early 20th century. Various conceptions proposed
at that time differed between themselves significantly with regards to the basic
assumptions as well as realizations of them. One system preferred the expressive
movement of the body linked with experiencing music, another exposed the role
of body movement in correlation with the use of simple instruments, whereas the
last one concentrated on the development of musical talent through singing. All
these concepts greatly influenced the compositions conceived for children by the
composers writing throughout the 20th century, affecting especially the choice of
genres considered as preferable for children.
The first of the above-mentioned types of music education system is represented by the method invented by Emile Jaques-Dalcroze (1865–1950). One of its
elements – so-called eurhythmics – tightly links the movement of the body with
the visual representation of fundamental concepts of music such as rhythm, pitch,
scale, tonality and other musical parameters. Through the expression of the body
children are taught to understand music: its dynamics, tempo, articulation, phrasing or even the meaning of the musical composition. The exercises are aimed at
developing children’s physical abilities as well as enabling them in mastering their
own bodies when perceived as a kind of musical instrument.
This aspect of Dalcroze’s method, accenting the role of body movement,
twenty years later inspired another composer working with music education. Carl
Orff (1895–1982), who collaborated extensively with Dorothy Günther, suggested
a new holistic system of music education emphasizing the role of the creative use
of musical instruments. In this method, similar to Dalcroze’s, the body movement
still played an important role, but was supported by the use of simple instruments,
mainly consisting of percussion. Orff alluded to the concept of syncretism of arts
where music, dance and speech were unified and rudimentary forms of everyday activities were harnessed to create artistic, enjoyable, music-filled experiences.
Both Orff ’s concepts and Dalcroze’s ideas found their ultimate realization in the
number of musical plays composed for children in the 20th century, in which dance
and movement were assigned the central role.
The third type of music education system was developed in the 1940s in Hungary by Zoltan Kodaly (1882–1967). The proposed method accented the role of
singing in the process of shaping human musicality. The composer underlined
the ability to understand music as a means of enriching a young child’s personality, achieved preferably via intensive singing. Kodaly perceived music as a natural
see Emile Jaques-Dalcroze, Wybór pism (Selection of Writings), Warszawa, 1993; Zofia
Burowska, Współczesne systemy wychowania muzycznego (Contemporary Systems of Musical Educa‑
tion), Warszawa: WSiP, 1976, p. 21.
see Zofia Burowska, op. cit., p. 28.
64
Witold Lutosławski Studies 1 (2007)
language enabling all people to express themselves. The best instrument for that
purpose seemed to be the human voice. Kodaly especially stressed the role of solo
singing as well as singing in choirs. He sought the sources of inspiration for singing in his native folklore music. Many songs composed for children in the 20th
century – directly or indirectly – refer to Kodaly’s concept and his achievements.
It is symptomatic that in the first half of the 20th century the composers themselves became fully aware of the importance of educating children in the spirit of
music. In the years 1928–1930 Karol Szymanowski wrote a small brochure entitled
“The educational role of musical culture in society” where he explicitly addressed
the problem of adequate music education, proving that the awareness of the responsibility connected with writing music for the purposes of educating young children
was deeply rooted in Polish tradition. Szymanowski, in the above mentioned text,
stated that “in today’s society music exercises much greater influence than literature and fine arts, hence the inevitable necessity of drawing appropriate conclusions especially for individuals feeling a responsibility for the artistic development
of the country”. Although it is not certain whether Lutosławski read this text by
Szymanowski, these statements may serve as explications of his own opinions.
Another Polish composer, Augustyn Bloch, also composed songs for children
which gradually became widely used by kindergarten teachers in their work with
children and soon found their place in the repertoire of many Polish children. In
his interviews the composer often expressed his care for the music education of
children. He was very aware of the responsibility he was assuming while composing for children, saying that any composer “writing for children is responsible for
their sensitivity, the purity of their imagination. He shapes their tastes”.
see Erzsebet Szőnyi, Zarys metody Kodaly’a (Kodaly’s Method-introduction), transl.
A. Słaboń, Katowice: Biblioteka Główna Państwowej Wyższej Szkoły Muzycznej, 1979.
see Maria Kaciczak–Przychodzińska, Polskie koncepcje wychowania muzycznego (Polish
Musical Education), Warszawa: WSiP, 1987, pp. 154–8. Zofia Burowska, Współczesne systemy
wychowania muzycznego (Contemporary Systems of Musical Education), op. cit., p. 29.
Karol Szymanowski, ‘Wychowawcza rola kultury muzycznej w społeczeństwie’ (‘The
Educational Role of Musical Culture in Society’), in: Pamiętnik Warszawski 8, November
1930, pp. 57–89; later published as a brochure, Warsaw 1931 by Towarzystwo Wydawnicze
J. Mortkowicz, by PWM Edition Kraków, 1949 and in: Kwartalnik Muzyczny 10/11, 1931, pp.
129–56, and in: Karol Szymanowski. Pisma. Vol. 1: Pisma muzyczne. Zebrał i opracował Kornel
Michałowski, Kraków: PWM Edition, 1984, pp. 264–92.
Karol Szymanowski, Wychowawcza rola kultury muzycznej w społeczeństwie (The Educa‑
tional Role of Musical Culture in Society), Kraków: PWM Edition, 1949, p. 273.
Danuta Gwizdalanka, Krzysztof Meyer, Lutosławski. Droga do dojrzałości (Lutosławski.
The Way to Maturity), Kraków: PWM, 2003, p. 97.
Ewa Solińska, W salonie muzycznym (In a Musical Parlour), Bydgoszcz Wydawnictwo
Pomorze, 1986, p. 20.
65
Witold Lutosławski Studies 3 (2009)
The growing social awareness of the role of music education resulted in the
20th century in creating institutions responsible for the musical development of
children (e.g. under the UNESCO auspices in 1953 the International Society for
Music Education, ISME, was established).
Traditions of composing for children
Many composers living in the 20th century made the decision to compose for
children. Although in the 19th century music for children was still mostly associated with pedagogical compositions, in the 20th century three prevailing trends
can be distinguished. Apart from those already mentioned are (1) pedagogical
literature, (2) musical plays for children, (3) songs for children.
(1) The 19th century witnessed a flourishing of pedagogical literature devoted
to popular instruments, mainly the pianoforte, violin and cello. The pedagogical
compositions were usually thought of as exercises for practising specific technical problems and were addressed to young adepts playing a given instrument10.
They were aimed at helping aspiring virtuosos, with special emphasis on so-called
prodigy children. During the 19th century many exercise books appeared with collections of compositions called etudes, exercises, preludes, studies or caprices. The
most popular authors of these were - among others - Clementi, Cramer, Czerny
and Hummel11. With time, the need for pedagogical literature grew with a special
demand for compositions addressed to amateurs and music lovers. Especially in
the second half of the 19th century – as Irena Poniatowska writes – pedagogical
literature “multiplied in number”12. In the 20th century this tradition continued and
many composers still wrote pedagogical compositions. Lutosławski also authored
a pedagogical composition – the purely instrumental Trzy utwory dla młodzieży
(Three Pieces for the Young) consisting of Czteropalcówka, Melodia, Marsz (Fourfinger exercise, Melody, March) for solo piano. The composition was written in 1953
as the result of a commission from Polskie Wydawnictwo Muzyczne (PWM Edition)13.
(2)The second genre willingly selected by the composers writing music for
children in the 20th century was the musical play, which in its very essence referred
to the concepts of Dalcroze and Orff by accenting the role of movement (linked
Irena Poniatowska, Muzyka fortepianowa i pianistyka w wieku XIX (Piano Music and
Playing in the 19th Century), Warszawa PWN, 1991, p. 126.
11
Wanda Chmielowska, Z zagadnień nauczania gry na fortepianie (About teaching piano
playing), Kraków PWM, 1963, pp. 46–47.
12
Irena Poniatowska, Muzyka fortepianowa i pianistyka w wieku XIX (Piano Music and
Playing in the 19th Century), op. cit., p. 129.
13
Charles B. Rae, Muzyka Lutosławskiego (The music of Lutosławski), transl. Stanisław
Krupowicz, Warszawa Wydawnictwa Naukowe PWN, 1996, p. 51.
10
66
Witold Lutosławski Studies 3 (2009)
with dance and games) as well as singing. The novelty of the play hinged on enabling children to take part in these shows – their natural expression by dance
or singing was supposed to help them understand music better. This was a new
concept in comparison with the 19th century tradition where fantastic librettos
based on fairy tale-like stories were bound up with the tendencies of the romantic
epoch and were not, in fact, conceived as facilitating the reception of the works by
children.
However, musical shows composed at the end of the 19th century already betrayed the signs of taking the child’s world into account. Such works as the ballet
Nutcracker from 1892 by Tchaikovsky or the fairy tale Hänsel und Gretel from
1891 by Humperdinck are the first attempts, yet not very successful, to address
children via the choice of the librettos seemingly dedicated to the youngest. While
Tchaikovsky’s ballet was based on E. T. A. Hoffman’s stories14, the Märchenoper
Hänsel und Gretel made references to the Grimm brothers’ tales. This work – as
Martin Cooper writes – “belongs to a class not uncommon in the nineteenth
century: a work of art conceived ostensibly for children but in fact reflecting an
adult’s sentimental idealization of childhood and very little appreciated by children themselves”15. In the early years of the 20th century Ravel composed L’enfant
et les sortilčges: Fantaisie lyrique en deux parties (1917–1925) and Debussy his ballet
for children La Boîte a Joujoux in 1913.
While composing for children, composers more and more often started to
take into consideration their emotional needs, aware – at the same time – of the
perceptive constraints of children. Furthermore, in many musical plays children
were supposed to take active part and were encouraged to perform musical parts,
e.g. in The Little Sweep op. 45 (1949) by Benjamin Britten or The Rainbow (1981)
by Peter Maxwell Davies. In these quasi-operas children, alongside adults, were
asked to sing and play the instruments. The main element facilitating children in
the performance and reception of these works was the simplicity as well as the
playful character revealed in the presence of many dances and incorporation of
musical games. One of the first compositions of this kind was the cantata–play
by Paul Hindemith Wir bauen eine Stadt from 1930, representative of so-called
Gebrauchsmusik.
Specific musical traits characterize the musical fairy tale for the symphonic
orchestra composed in 1936 by Prokofiev entitled Peter and the Wolf. The work was
conceived as a guide through the symphonic orchestra and later the composer reworked it as a one act ballet. The work in a simple, uncomplicated way introduces
see Ernst Theodor Amadeus Hoffmann, Nussknacker und Mauskönig, Leipzig: Universal–Bibliothek, 1954.
15
Martin Cooper, ‘Stage Works: 1890–1918’, in: Martin Cooper (ed.), New Oxford His‑
tory of Music: The Modern Age 1890–1960, London: Oxford University Press, 1974, vol. 10,
p. 146.
14
67
Witold Lutosławski Studies 3 (2009)
children to the sound of several instruments: flute, oboe, clarinet, bassoon, horn,
violin, timpani. It was written as an answer to the need for a composition addressed
to young children – being a father of two sons and attending with them symphonic mornings in the central Theatre for Children Prokofiev was bitterly aware of the
fact. At the same time in France, Poulenc became interested in a very popular story
about an orphaned elephant, Babar, by Jean de Brunhoff, and composed a fairy tale
based on it for piano and voice, dedicated to his cousins and young friends.
The social need for musical plays for children is a 20th century phenomenon reflecting the development of the mass culture in which children became one of the
possible target groups. In this situation many composers attempted to compose
not only works for children, but also started to consider the qualities associated
with the world of the child and managed to incorporate their works for children
into their mainstream activities.
(3) The third genre popular in the 20th century with composers writing for
children were songs. The distinction between songs composed for children as listeners, and songs for children as the performers was still sustained16. The first group
was represented – among others – by the following Polish composers: Tadeusz
Baird, Artur Malawski and Ryszard Bukowski, while the second was represented
by Łucja Drege-Schielowa, Czesław Grudziński and Irena Pfeifer.
It was common for composers of vocal-instrumental works for children to use
texts of very high quality written by renowned authors. In Poland the most popular poets for children, like Janina Porazińska, Jan Brzechwa and Jozef Czechowicz,
provided lyrics for the majority of songs. Lutosławski’s selection of lyrics for his
songs seems particularly interesting for at least two reasons. Firstly they are characterized by a high artistic standard17, and secondly they usually depict very simple
but at the same time extremely imaginative situations. The authors of the texts
used by Lutosławski are hailed as the most respected Polish poets writing for children: Julian Tuwim, Lucyna Krzemieniecka, Janina Porazińska, Hanna Januszewska, Jadwiga Korczakowska, etc. Texts by these authors used by Lutosławski in
his songs create the world of Aesop’s tales, full of their own heroes, including many
animals, encouraging the use of onomatopoeic effects. For example in the collection entitled Piosenki dziecinne (Children’s Songs) from 1958 the composer used
texts by Porazińska that clearly exploit tricks of literature enabling better compre16
see Maryla Renat, ‘Związki słowno-muzyczne w pieśniach dziecięcych Witolda
Lutosławskiego’ (‘The Relations Between Music and Lyrics in Lutosławski’s Songs for Children’), in: Prace naukowe Akademii im. Jana Długosza. Edukacja muzyczna (Scientific Works of Jan
Długosz University. Musical Education), Marta Popowska (ed.), Częstochowa: Wydawnictwo
Akademii im. Jana Długosza, 2005, p. 100.
17
see Maryla Renat, ‘Utwory dla dzieci w twórczości Karola Szymanowskiego i Witolda
Lutosławskiego’ (‘Compositions for Children by Szymanowski and Lutosławski’), in: Dziecko
– Szkoła – Muzyka (Child – School – Music), Anna Grajpel (ed.), Częstochowa: Wydawnictwo
Wyższej Szkoły Pedagogicznej w Częstochowie, 2003, p. 49.
68
Witold Lutosławski Studies 3 (2009)
hension by children. These are, among others, personification – e.g. “an amber is
winking” in Bajki iskierki (Sparkling tales) or “the frost is kneeling” from the song
Siwy mróz (Hoar-frost) or “I am a stain” from Plama na podłodze (A stain on the
floor), onomatopoeic sounds – e.g. “bim bam” from Butki za cztery dutki (Little shoes
for fourpence), “hau hau” from Siwy mróz (Hoar-frost – “hau” can be translated into
English as “woof ”) or “kap, kap, kap” from Kap, kap, kap (Drip, drip, drip) and a lot
of adjectives – e.g. “silver frost”, “sparkling silverly”, “meadow in flowery beauty”
from Siwy mróz (Hoar-frost).
Songs for children never constituted a separate stream in Lutosławski’s oeuvre,
neither did the composer write them on his own initiative; they were, however – as
Tadeusz Kaczyński notes – the reaction to social needs, and not a simple way to
repair the composer’s home budget18. The composer himself would assign these
compositions “the status of socially useful” works. As he confessed: “I composed
little works that were useful. I did it for pleasure, because I found them useful. […]
I wanted to write [. . ] It was simply my service, my answer to the social need”19.
During the phase between 1947 and 1953 Lutosławski worked on compositions for children most intensively and also prepared their instrumentation. Hence
Sześć piosenek dziecinnych (Six Children’s Songs) from 1947 gained in 1953 a new
version for chamber orchestra and mezzo-soprano. In 1952 the composer arranged
new versions of Piosenka o złotym listku (Song of the golden leaf) and Majowa nocka
(May night) – initially for voice with chamber orchestra – for voice with pianoforte. Srebrna szybka (Silver window-pane) and Muszelka (Cockle-shell) from 1952
also have two versions: one for voice and pianoforte, the other for voice and chamber orchestra. In 1977 the British publishing house Chester issued these songs
with English translations of the lyrics by Marie Pooler.
Songs for children by Lutosławski in the light of his later
oeuvre
Lutosławski’s songs for children were conceived both for listening and for performing by children. This pre–compositional intention is reflected in the simplicity
of shaping the form and the line of the melody. This did not escape the attention
of many biographers, stressing at the same time the finesse of Lutosławski’s music
for children. Gwizdalanka and Meyer in their book draw attention to the natural co–existence of these two factors in songs for children by Lutosławski, which
“…were given a credit of […] high popularity, and at the same time they repre18
p. 9.
Tadeusz Kaczyński, ‘Lutosławski’s Music for Children’, in: Polish Music 9 no. 4, 1974,
from the film Witold Lutosławski in Conversation with Krzysztof Zanussi, BBC 1989
see Danuta Gwizdalanka, Krzysztof Meyer, op. cit., p. 169.
19
69
Witold Lutosławski Studies 3 (2009)
sented an excellent artistic level”20. Even one of the first reviewers of Lutosławski’s
songs – Roman Haubenstock-Ramati in the text published in Ruch Muzyczny in
1948 – concluded that “everything is in style, simple, clean, direct – and so poetic”21. Also, according to Kaczyński, simplicity supported by originality was the
quality ensuring the unique character of songs for children by Lutosławski: “The
superior quality of Lutosławski’s songs for children […] is determined by their
unconventionality and simplicity”22. In Tomaszewski’s foreword to the Polish edition of Lutosławski’s songs for children from 1974 the author warned any future
performers of the songs that neither the songs’ simplicity nor their finesse should
be ever neglected23. On the other hand, Charles B. Rae describes the songs as a
sort of exercise or etude preparing the composer’s search for his own, distinguishable musical language24.
Songs for children by Lutosławski in comparison with
songs for children by Stravinsky
In the analysis of songs by Lutosławski and Stravinsky certain similarities are
revealed with respect to the form and the choice of musical procedures25. Songs by
Stravinsky were published in three collections. Three Little Songs from 1913 were
written for voice with pianoforte: The Magpie was dedicated to the composer’s son
Światosław, The Rook to his daughter Ludmila and the song The Jackdaw to his son
Theodore. Cat’s Cradle Songs (consisting of The Tom-Cat, The Tom-Cat on the Stove,
Bye-Byes) from 1915–1916 were for voice with three clarinets. The collection
Three tales for children from 1915–1917 was for voice and pianoforte (Tilimbom,
Geese, Swans and Bear’s Little Song).
The songs for children by Lutosławski and Stravinsky are small works. In the
collection Piosenki dziecinne (Children’s Songs – 1958) by Lutosławski short forms
are closed in a song pattern ABA (as long as the lyrics allow this). Such an internal
logic is applied to the songs Siwy mróz (Hoar-frost) or Kap…kap…kap (Drip, drip,
Danuta Gwizdalanka, Krzysztof Meyer, op. cit., p. 163.
Roman Haubenstock-Ramati, ‘ “Piosenki dziecinne” W. Lutosławskiego’ (‘Songs for
Children by Lutosławski’), in: Ruch Muzyczny 2, 1948, p. 14.
22
Tadeusz Kaczyński, Lutosławski’s Music for Children, op. cit., p. 10.
23
Mieczysław Tomaszewski, Komentarz do Spóźnionego słowika i nikczemnego szpaka
(Commentary to Songs by Lutosławski), Kraków PWM, 1974.
24
Charles B. Rae, op. cit., pp. 48–9.
25
Also Maryla Renat while analyzing songs for children by W. Lutosławski chose a comparative approach. Rymy dziecięce op. 49 by K. Szymanowski were, however, not addressed to
children as performers. See Maryla Renat, Utwory dla dzieci w twórczości Karola Szymanow‑
skiego i Witolda Lutosławskiego (Compositions for Children by Szymanowski and Lutosławski), op.
cit., pp. 41–58.
20
21
70
Witold Lutosławski Studies 3 (2009)
drip). The song Wianki (Wreaths) possesses another inner form: it is divided into
two parts, each consisting of nine bars. Similarly the problem of form in songs
for children was approached by Stravinsky, whose songs are also very short. The
Magpie is, for example, only 14 bars long, and The Rook’s simplicity is revealed in
its constant repetition of the 12 bar long phrase.
However, Lutosławski made use of various forms in his songs for children, including variations in the cycle Słomkowy łańcuszek (Straw chain). Variations in the
last song of this cycle are applied only to the layer of the accompaniment played
by five wind instruments (flute, oboe, two clarinets, bassoon). While shaping the
form, the tendency to repeat short, one or two bar long motifs prevails – alternatively with successive presentations of variants of one motif (the difference between the variants can be reduced to petty changes in the melodic lines). Not only
are the motifs repeated, but so are whole phrases, contributing to the simplicity
of the songs. Similar solutions were used by Lutosławski and Stravinsky, whose
songs are also characterized by repetitions of short, one or two bar long motifs,
presented in an identical version or one pitch higher. For example this method was
used in the song Tilimbom. The minimalist approach resulted in such solutions as
the one described by Haubenstock-Ramati, who noticed in his review of the song
Spóźniony słowik (The overdue nightingale) by Lutosławski that the opening four
bars accumulate the musical material of the whole song26.
Melodies of the songs are closed within rather small ambits and make use of
small intervals, usually seconds. Not only are the leaps rare, they normally do not
exceed the fourth. This simplicity of melodic lines, as well as the fact that the composers often used the notes of the triad, seem to indicate an awareness of possible
problems which young children may encounter while performing the songs. In the
song Taniec (Dance) by Lutosławski the tune initially is based on the triad of G
major and D major, and in Wianki (Wreaths) it makes use of C major.
In order to recompense the simplicity of usually diatonic melodic lines
Lutosławski usually enriched the accompaniment, often serving an illustrating
function27. Generally it is the pianoforte that accompanies songs. In some collections, for example in the earliest Sześć piosenek (Six Children’s Songs), the right hand
of the pianist performs the same melody as the singer, hence there is no separate
notation for the voice. In time the accompaniment became more and more independent. Its development was characterized by the tendency to sustain the unity of
the melody of the voice and the melody played by the pianist and the introduction
of additional ideas during the fragments devoid of voice line (for example in the
Roman Haubenstock-Ramati, ‘ “Pieśni dla dzieci« Witolda Lutosławskiego’ (‘Songs
for Children by Lutosławski’), in: Ruch Muzyczny 1, 1948, p. 14.
27
see Maryla Renat, Związki słowno-muzyczne w pieśniach dziecięcych Witolda Luto‑
sławskiego (The Relations Between Music and Lyrics in Lutosławski’s Songs for Children), op. cit.,
p. 107.
26
71
Witold Lutosławski Studies 3 (2009)
song Nightingale chromatic passages are introduced). The overall simplicity of the
accompaniment manifests itself in the tendency to introduce ostinato figures, e.g.
in Srebrna szybka a constantly repeated note C, or in O Panu Tralalińskim (About
Mr Tralalinski) E flat, or in Majowa nocka a progressively ascending triplet figure. Despite the simplicity resulting from the repetition of one pitch, the fineness
of Srebrna szybka hinges on introducing dyads built of thirds and seconds. The
contrast of euphonic sounds associated with diatonics versus the chords avoiding
traditional disposition is characteristic for all songs by Lutosławski, starting with
the early ones like Ptasie plotki (Birds’ gossips). In the later songs the composer
abandoned the practice of doubling the melodic line of the singer in part of the
accompaniment, especially while re–arranging the accompaniment for new instruments (usually winds supported by strings). Piosenka o złotym listku represents this
rare type of song, in which both the voice and the accompaniment remain fairly
independent of each other. The accompaniment here not only supports the melody
but also imitates it with the melody led in the middle register, based on thirds and
seconds. Introducing new types of musical solutions supports Rae’s hypothesis of
Lutosławski’s consequent line of progress, present also in his songs for children28.
The accompaniment in songs for children was treated similarly by Stravinsky.
In the song Bear’s Little Song from the collection Three tales for children an accompaniment is constrained to just one line (performed by the left hand of the pianist)
based on two sounds (A flat and D flat) creating an ostinato bass. In an analogous
way the composer constructed the bass line of Tilimbom, where for the whole duration of the piece (65 bars) one figure consisting of four eighths is repeated.
The harmonic language of the songs for children is well thought out29 – full
of minor dominants and rapid modulations as if denying the apparent simplicity
of the songs.
Interesting and far from banality, solutions are introduced into the metro–
rhythmical sphere of the songs, rich with eighths and quarters sustaining a vivid
pulse. Skilfully applied rhythmic solutions, like the one opening the song O Panu
Tralalińskim, add enormously to the character of the songs. Already in 1948
Haubenstock-Ramati wrote about the metro-rhythmics as the element organizing songs by Lutosławski30. Usually the use of certain rhythms was imposed by
the lyrics and the ostinato figure is one of the favourite solutions. Lutosławski
introduced not only melodic ostinatos but also rhythmic ones: the song Muszelka
makes use (in the very beginning and the end) of the figure consisting of four six-
Charles B. Rae, Muzyka Lutosławskiego (The Music of Lutosławski), op. cit., pp. 48–9.
see Maryla Renat, Utwory dla dzieci w twórczości Karola Szymanowskiego i Witolda Lu‑
tosławskiego (Compositions for Children by Szymanowski and Lutosławski), op. cit., p. 52.
30
Roman Haubenstock-Ramati, ‘ “Piosenki dziecinne” W. Lutosławskiego’ (‘Songs for
Children by Lutosławski’), op. cit., p. 14.
28
29
72
Witold Lutosławski Studies 3 (2009)
teenths, linked by two (with an accent on the first and the third); in Majowa nocka
the ostinato figure is based on a triplet figure.
Specific rhythmic solutions most often resulted from references to folk music.
For example Taniec is in fact a Polish dance called oberek, similarly in a number
of other songs by Lutosławski, e.g. Pióreczko (Little feather) or Piosenka o złotym
listku, folk references can be observed.
Stravinsky also chose folk texts in his songs for children since in the 1920s
Russian folk music inspired his oeuvre31. Folk as a source of inspiration for vocal
compositions for children in the early 20th century was one of the main postulations in the music education theory conceived by Kodaly, who also willingly made
use of Hungarian folk melodies in his compositions for children. Linking folk
music with simplicity lay at the base of the ultimate association of folk music and
the concept of “music for children” characterized by a number of certain similar
qualities.
The instruments accompanying the songs usually comprise strings and woodwinds, e.g. in the cycle Słomkowy łańcuszek: flute, oboe, two clarinets and bassoon.
Stravinsky preferred woodwinds as well, making use of three clarinets in his Cat’s
Cradle Songs. As already mentioned Lutosławski frequently came back to his songs
for children, usually in order to re–arrange instrumentation. The accompaniment
part was usually extended, although there were instances when additional instruments simply doubled the melodic line of the singer (e.g. Pióreczko). This care for
details shows that the composer tried to remain truthful to his original visions of
songs while experimenting with various instruments. For example in Srebrna szyb‑
ka he did not hesitate to introduce the harp and in Wróbelek (Little sparrow), apart
from the violin, viola and cello he also introduced – just for one sound effect – an
oboe imitating the chirp of the title sparrow. The attention to details manifests
itself also in the immaculate articulation annotations (e.g. con sordino, pizzicato,
etc.) and dynamic markings.
Songs for children by Lutosławski – deeply immersed in the tradition of music for children – are characterized by the unity of simplicity (e.g. in the melodic
line) with finesse observed in harmonic nuances and metro–rhythmic solutions
as well as evident in the specific, playful character obtained by references to folk
music. These traits – characteristic also of songs for children by Stravinsky – seem
to certify the composers’ deep understanding of children’s needs, as composing
for children requires from the composer special awareness of certain essentials
including:
A) simple forms easily perceived by children
B) short sizes closed in auditively distinguishable units
Alicja Jarzębska, Igor Strawiński. Myśli i muzyka (Igor Stravinsky. Thoughts and Music),
Kraków: Musica Iagiellonica, 2002, p. 60.
31
73
Witold Lutosławski Studies 3 (2009)
C) repetitions of melodic and rhythmic patterns usually based on one – two
motifs
D) important role of dance
E) generally limited number of performers.
Despite the constraints resulting from the specific addressees of the works,
Lutosławski considered some of his songs for children, e.g. O Panu Tralalińskim
from the collection Dwie piosenki dziecinne (Two Children’s Songs) or Kotek (Kit‑
ten), Idzie Grześ (Here comes Greg) from Sześć piosenek, as important, functional
compositions32. Indeed, the songs for children may serve as an introduction to the
rich world of music during children’s very first encounters with music by Witold
Lutosławski.
32
Tadeusz Kaczyński, op. cit., p. 10.